ВИМ ДЕЛЬВУА
维姆·德尔瓦

DUAL MÖBIUS QUAD CORPUS

source: timeout
Wim Delvoye is celebrated for such scandalous projects as his Cloaca machines, which turn the best chefs’ cuisines into manufactured shit, and his stained-glass windows made up of X-rays and MRI images, capturing various forms of intercourse in all their oral, anal and vaginal glory. The Belgian artist returns to New York for his tenth solo show here, and at first glance, his latest works—all sculptures—are tame compared with those earlier efforts. But on closer inspection, sexual, scatological and blasphemous subtexts become wickedly apparent.
The centerpiece of the show, Suppo (scale model 1:2), is a 23-foot-tall, twisting stainless-steel lozenge suspended from the ceiling of the main gallery. Based on the Gothic tracery of Germany’s Cologne Cathedral, this glistening pi–ata comprises 3,000 computer-guided, laser-cut plates assembled into the shape of a giant rectal suppository. It took three years to design and manufacture and was, according to the artist, “a pain in the ass to make.”
Similarly contorted crucifixes continue Delvoye’s ecclesiastical explorations. The largest, Dual Mobius Quad Corpus, dangles starkly in an adjacent space, torquing Christ on the cross, while on Sperone’s second level, a group of smaller, double-helix-shaped sculptures profanely warp Jesus into DNA abstractions. Also upstairs are Delvoye’s distorted bronzes of classical French sculpture, related to ones he exhibited at the Louvre last year. Digitally deformed into three-dimensional Rorschach tests, the shimmering figures reveal sexually suggestive orifices, which are puckishly offered for viewers to contemplate.—Paul Laster
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source: artobserved
Belgian artist Wim Delvoye has continually pushed his signature brand of surrealist social critique over the past 30 years, creating works that subvert societal norms with a trenchantly humorous twist. Often using the forms of classical art and architecture, Delvoye twists and bends these forms to create new dialogues with his medium, his subjects, and his own era. Cultivating a number of recent laser-cut works in steel and bronze, Sperone Westwater is currently presenting a minimal, yet potent review of Delvoye’s current work, examining his ongoing explorations of gothic architecture, religious symbolism, and modern psychology. The show comes several months after Sperone Westwater hosted a similarly critical look at modernity with Fabio Viale’s Stargate, which included, among other works, a fragmented recreation of Michelangelo’s Pieta, sans Mary. Destroying the revered form and meanings of the original work, Viale presented a cutting critique on the consumption of sacred objects and religious devotion to the image. Working on a more physical plane, Delvoye warps the image of the crucifix itself, wrapping it around itself into the quite modern double helix shape, reminiscent of DNA chains. Here, the religious artifact contends with the forms of modernity, with both sides leaving the interaction fundamentally changed. In other works, Delvoye has returned to his enormous, laser-cut gothic works, carving the towering spires and ornate detailing of post-renaissance architectures into curving, spiracular forms. Abstracted from any broader architectural body, the towering fragment becomes a mirror image of itself, a pure image of scale and direction removed from its original context. Despite their intricate beauty and scale, the works seem unmoored, as if something had been lost in the translation. The show also includes a series of Delvoye’s Rorschach works. Taking classical Greek sculpture, and bending his subject matter into mirror images, looping and curving around itself, Delvoye presents a work alienated from its source material, inherently tied up in the process and practice of contemporary analytical psychology. On viewing them, the viewer must strive in many cases to make that connection between the eras, presented initially with a nearly undefinable mass of movement and form. Throughout these works, this sense of modernity and alienation continually resurface, locked together in a pathetically comical dialogue. Potent symbols of antiquity are relegated to modern rhetorics, or, rather, locked into them, unable to be understood in their original context. Modern neurosis is sublimated through Greek mythology, or rather, embedded into the story itself, as if the contemporary critic has lost the language to evaluate the work from a purely aesthetic angle. In a similar vein, Delvoye’s crucifixes and cathedrals must turn geoemtric tricks of their own to remain readable, carved into new forms that defy gravity and convention in favor of their technological splendor. Equally beautiful and confounding, Delvoye’s works offer a potent look at the body of contemporary art, questioning in no small terms what the gradual separation of arts, religion and daily life have evoked on the fusion of each. While the average viewer may find themselves offended or impressed by Delvoye’s grand reworkings of symbolic images and techniques, they may find that they have no language to express why: a point the artist seems intent on driving home. Delvoye is on view at Sperone Westwater until June 28th.
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source: olssonartcollection
Sperone Westwater had a long awaited solo show with our Belgian favourite artist Wim Delvoye, who is well represented in our Collection with earlier works. After his spectacular solo show last year at the Louvre in Paris, this year has seen his solo shows in Abu Dhabi and Hong Kong and now in New York. In the new purpose built gallery building in Bowery, what used to be the most run down part in New York, Delvoye put on a spectacular show with his latest works. He himself received us and talked about his new works. (The exhibition is up from May 10 – June 28)
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source: guggenheim
b. 1965, Wervik, Belgium
Wim Delvoye was born in 1965 in Wervik, Belgium. Working in such varied mediums as sculpture, drawing, live tattooed animals, stained-glass windows, and X-ray photographs, Delvoye mischievously brings together the extremes of high-brow and low-brow culture. In the late 80s, Delvoye applied Dutch ornamental traditions (i.e. Delft china patterns and coats of arms) to mundane objects like shovels, gas cylinders, and ironing boards. In works like Cement Truck (1990–91) and Delft Concrete Mixer (1992), lavish flourishes adorned larger objects. In his series Mosaics (1990–92), realistic renderings of excrement were used to decorate white ceramic tiles. In 1992, Delvoye began an extensive project in which he exhibited live pigs and dried skins of pigs, both covered in tattoos drawn from the domain of bikers and punk rockers: skulls, daggers, snakes, hearts, and Harley Davidson logos. In 2004, he extended this medium by exhibiting stuffed pigs and by expanding his tattoo vernacular to include Louis Vuitton patterns and images of Disney princesses.
Concurrent to his projects involving tattooed pigs and the eventual establishment of their permanent home at “Art Farm” in Beijing, Delvoye developed several other major projects. From 1998–99, the artist photographed patterns of various sliced meats meticulously assembled to approximate cold, clean marble floors. In his ongoing series of Gothic works, initiated in 1999, Delvoye created stained-glass windows and sculptural works. For the latter, he constructed, in the elaborate International Gothic style, massive equipment typically found on construction sites (a Caterpillar machine, dump truck, flatbed trailer, and cement truck). In 2009, Delvoye built Torre, a Cor-ten-steel tower, with ogival-arched windows, tracery, and turrets, on the terrace of Palazzo Venier dei Leoni, overlooking the Grand Canal, for the Peggy Guggenheim Collection in Venice. The artist’s ongoing project, Cloaca, involves several versions of an original machine completed in 2000, which replicated the digestive system, consuming matter at one end and producing excrement at the other.
Solo exhibitions of Delvoye’s work have been organized by Castello di Rivoli (1991), Kunsthalle Nürnberg (1992), Open Air Museum Middelheim in Antwerp (1997), Centre Georges Pompidou in Paris (2000), Migros Museum in Zurich (2001), Museum Kunst-Palast in Dusseldorf (2002), The Power Plant in Toronto (2004), and Peggy Guggenheim Collection in Venice (2009). His work has also been included in major group exhibitions such as Venice Biennale (1990, 1999, and 2009), Documenta IX (1992), Sydney Biennale (1992), Lyon Biennial (2000 and 2005), and Shanghai Biennale (2006). Delvoye lives and works in Ghent.
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source: art-flux
Si Wim Delvoye est un artiste incontournable de la scène de l’art contemporain, il ne le doit en aucun cas à un effet de mode ou à ses relations. S’il connaît un succès toujours grandissant, il ne le doit qu’à la richesse, la finesse et l’extrême pertinence de son œuvre, sans Il existe depuis une vingtaine d’année, de la part de certains artistes, une réelle volonté d’investir la vie quotidienne et de s’y fondre. Wim Delvoye fait partie de ceux-là. Depuis quelques années, il est devenu un réel entrepreneur. Il ne vend pas sa production personnelle, ses créations, mais la production des ses entreprises.
Pour Wim Delvoye, l’artiste se doit d’être au coeur du monde dans lequel il vit. L’artiste se fait observateur mais aussi, et surtout, acteur de la société qui est la sienne : il investit la vraie vie, le temps et l’espace réels. Il ne craint pas d’utiliser des formes appartenant à des domaines extra artistiques, bien au contraire, s’il se fond dans la vie courante, s’est pour mieux la critiquer. cesse en expansion. Je propose ici d’en approcher un aspect essentiel.
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source: arndtberlin
Wim Delvoye is a Belgian object and installation artist. He appeared before the public in 1968 with an installation of painted cheap department store rugs. The patterns were partially painted over with details of reproductions of famous art works, lace from Brussels and delft lions. The basic principal of this and further works is the alienation of everyday objects with the aid of clichéd images. Often he uses reproduced images, which became stereotypes, and ornaments, integrates these as decor or as a part in everyday objects or fills outmoded ornaments with segregated, unfitting, displaced content. The contrasting connection of the meaningless stereotyped images brings them in Delvoye’s sense to ‘talk’.
In 2000 Delvoye started his project ‘Cloaca’, which is located at the interface of art and science. His ‘Cloaca’ installations are highly developed machines, which mimic the human and animal digestion system with its unavoidable result. ‘For me it’s life. This is a human being without a soul,’ explains Delvoye.
Another main interest of him is tattooed pigs. In 2004 he started his ‘Art Farm’ in China, on which he tattooed pigs until 2008. ‘The motive can be very simple – motives I saw on people or in art works. I take a lot of pictures with my digital camera of tattoos. I photographed everything on the market, in fact I have a form of encyclopaedia.’
Delvoye calls his own approach to art ‘glocal’, referring to ‘local’ and ‘global’, which is his own ironical way of describing art. His monumental machines, e.g. diggers and architectural works, created in steel and decorated with delicate gothic ornaments take this additional step forward, thus combining Flemish decorative artistry and global industrial design with contemporary art history. In 2009 during the 53rd Venice Biennale he built his work ‘Torre’, a tower of Cor-Ten steel in gothic style, at the Peggy Guggenheim Collection and caused a sensation in the art world.
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source: lalejacreativa
Delvoye, nació en Wervik – Bélgica, en 1965; es amigo de lo exagerado y enemigo del minimalismo, según él, la elegancia y el buen gusto son reflejo de decadencia. Es conocido como “el artista más grosero del mundo”. ¿Por qué? os preguntaréis, pues por varios motivos referentes a sus obras que incorporan elementos del mundo kitsch; obras como “Siete consideraciones sobre sexo X” que consiste en una serie de radiografías eróticas tomadas con rayos X. Otra de sus obras más conocidas es “Art farm” integrada por una serie de cerdos tatuados, actualmente muy cotizados en el mercado, llegan a los 125 mil euros cada uno (lol).
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source: decyclopaedianet
Wim Delvoye (* 1965 in Wervik) ist ein belgischer Konzeptkünstler. Sein Fokus liegt in der Darstellung ästhetischer Gegensätze, in der er, charakterisiert durch Ironie, Witz und Humor, oftmals Dekoratives mit Alltagsfunktion vereint und somit gängige Wertesysteme der Konsumgesellschaft hinterfragt. In einem seiner bekanntesten Werke, Cloaca, eine Maschine, die den menschlichen Verdauungsvorgang simuliert, ist es ihm nach mehreren Jahren Forschungsarbeit und mit der Hilfe von Wissenschaftlern gelungen, eine der inneren Funktionen des menschlichen Körpers nachzubilden und von menschlichen visuell nicht zu unterscheidende Exkremente zu produzieren. Diese werden dann, in Folie eingeschweißt und in einem durchsichtigen Quader verpackt, als Kunstwerke verkauft. Die Folie trägt den Schriftzug „Cloaca“.
Einen weiteren Schwerpunkt seiner Arbeit stellen Tätowierungen bei Schweinen und Menschen dar. Das Werk TIM, eine Rückentätowierung des Schweizers Tim Steiner mit Totenschädel und Madonna, wurde 2008 für 150.000 Euro an den deutschen Kunstsammler Rik Reinking verkauft. Tim Steiner hat sich für diese Summe verpflichtet, das Kunstwerk jährlich für drei bis vier Wochen zu präsentieren. Nach seinem Tode wird die Hautpartie dem Käufer oder dessen Erben übergeben.
Im Rahmen der Kunstsendung Art Safari auf ARTE ließ sich auch der Regisseur Ben Lewis tätowieren. Das Motiv, das auch eines der von Wim Delvoye tätowierten Schweine trägt, zeigt eine gekreuzigte Mickey Mouse. Die Signatur von Delvoye ahmt den Disney Schriftzug nach.
In seinen Stahlskulpturen verwendet er filigrane gotische Strukturen für Gegenstände wie Betonmischmaschinen und Raketen.
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source: vk
Вим Дельвуа (Wim Delvoye, род. 1965, Вервик, Бельгия) является нео-концептуальным художником. С 1985 года он рисует на современные, повседневные объекты. Он отличается от других художников благодаря интересу к банальному, повседневному и китчу. Он соединяет элементы из разных контекстов, из-за чего отдельные объекты теряют знакомый характер, например раскрашенные ковры, баллоны бутана и круглые пилы с дельфтскими мотивами, витражи рентгеновских снимков, футбольные ворота из китчевых витражей, готические бетономешалки, лопаты и гладильные доски с геральдическими мотивами. Таким образом Дельвуа употребляет и создает противопоставление. В 1990 году он участвовал в Венецианской биеннале и в 1992 году он экспонировал каменный пол в немецком городе Кассель на выставке Документа IX. Художник получил всемирную известность благодаря этому полу, который был украшен с узором экскрементов. Кроме того, благодаря живым татуированным свиньям он стал известным по всему миру. Вим Дельвуа родился под фамилией “Дельвой” в пограничном городе Вервик в Бельгии. Там он вырос и ходил в школу Sint-Jozefscollege. В детстве он любил рисовать и поэтому он зарегистрировался в местной академии искусства. В 1983 году он поступил в Королевскую Академию Изящных Искусств (KASK) в Гент. Три года спустя состоялась выставка раскрашенных ковров Chambres d’Ami, организованная Яном Хутом. Дельвуа проектировал для своего родного города бронзовую скульптуру, The Kiss (Поцелуй). Скульптура изображает двух спаривающихся косуль. Она поражает зрителя, потому что олени занимаются любовью как люди, а не как животные. Так как скульптура является такой натуралистичной, ее установка в 2000 году вызвала ряд протестов в Вервике.