Born in 1965, Wervik
He works and lives in Gand, Belgium

Wim DELVOYE

Born in 1965, Wervik
He works and lives in Gand, Belgium

SOLO EXHIBITIONS :


2017
-"Wim Delvoye", Musée Tinguely, Basel, Switzerland

2016
- "Wim Delvoye", DHC/ART, Montréal, Canada
- "Wim Delvoye", MUDAM, Luxembourg, Luxembourg
- "Wim Delvoye", Tehran Museum of Contemporary Art, Tehran, Iran

2015
- "Wim Delvoye", Heydar Aliyev Centre, Baku, Azerbaidjan

2014
- "Wim Delvoye", Galerie Perrotin, Paris
- "Wim Delvoye: Mimicry", The Pushkin State Museum of Fine Arts, Moscow, Russia
- "Wim Delvoye show", Gary Tatintsian Gallery, Moscow, Russia

2013
- Sperone Westwater Gallery, New York, USA
- Art Dubaï, United Arab Emirates
- Galerie Perrotin, Hong Kong, China
- "Oeuvres choisies: 1988 – 2011", Galerie Guy Bärtschi, Geneva, Switzerland
- "Lucca", Chiesa di San Cristoforo, Lucca, Italy

2012
- "Wim Delvoye: Au Louvre", Musée du Louvre, Paris, France
- Galerie Perrotin, Paris, France
- Roslyn Oxley9 Gallery, Sydney, Australia

2011
- MONA, Hobart, Tasmania, Australia
- Galerie Urs Meile, Beijing, China
- Robilant + di Voena, London, UK

2010
- "Wim Delvoye", Musée Rodin, Paris, France
- "Wim Delvoye: Dessins & Maquettes", MAMAC, Nice, France
- "Knocking on Heaven's Door", BOZAR, Brussels, Belgium

2009
- "Wim Delvoye: Torre", Peggy Guggenheim Collection, Venice, Italy
- "Cloaca N°5", Galerie de l'UQAM, Montréal, Canada

2008
- "Sex-Rays", Galerie Guy Bartschi, Geneva, Switzerland
- "Wim Delvoye", Ernst Museum (Mucsarnok Nkft), Budapest, Hungary
- "Cloaca N°5", Glenbow Museum, Calgary, Canada
- "Wim Delvoye", Galerie Rodolphe Janssen, Brussels, Belgium
- Diehl + Gallery One, Moscow, Russia

2007
- Galerie Perrotin, Paris, France
- "Cloaca Quattro", Xin Beiing Gallery, Beijing, China
- "Cloaca 2000-2007", Casino - Forum d'art contemporain, Luxembourg , Luxembourg

2006
- Galerie Perrotin, Miami, USA
- "Scale Models & Drawings", Alon Segev Gallery, Tel aviv, Israel
- "Cloaca IV", Kaohsiung Museum of Fine Arts, Kaojsiung, Taïwan, China
- "Bronzes", De Pury & Luxembourg, Zürich, Switzerland

2005
- "Scale Models & Drawings", Sperone Westwater, New York, USA
- Olga Korper Gallery, Toronto, Canada

2004
- "Cloaca- New & Improved", The Power Plant, Toronto, Canada
- "Oeuvres sur papier 1968 - 2004", Galerie Nathalie Obadia, Paris, France

2003
- Musée d’Art Contemporain, Lyon, France
- "Caterpillars", Public Art Fund Projects (Target Art in the Park), New York, USA
- "Fabrica", Centro per l'Arte Contemporanea Luigi Pecci, Prato, Italy

2002
- "Vitraux", Galerie Nathalie Obadia, Paris, France
- "Sex Rays", Galerie Beaumont, Luxembourg; Luxembourg
- "Cloaca - New and improved ", New Museum of Contemporary Art, New York, USA
- Museum Kunst-Palast, Düsseldorf, Germany
- "Marble Floors", Sperone Westwater, New York, USA
- Porin Taidemuseo Finland, Finland
- "Gothic Works", Manchester Art Gallery, Manchester, UK
- "Gothic Works", Sperone Westwater, New York, USA
- Galerie Guy Bärtschi, Geneva, Switzerland

2001
- "Cloaca - new and improved'', Migros Museum, Zürich, Switzerland

2000
- "Cement Truck", Centre Georges Pompidou, Paris, France
- Galerie Krinzinger, Vienna, Austria
- "Cloaca", MUHKA, Antwerp, Belgium

1999
- Galleria Sperone, Roma, Italy
- Galerie Ghislaine Hussenot, Paris, France
- Frac des Pays de la Loire, Nantes, France
- Galerie Micheline Szwajcer, Antwerp, Belgium
- Galeria Laura Pecci, Milano, Italy
- Galleri faurschou, Copenhagen, Denmark
- 11, Duke Street, London, UK

1998
- Sonnabend Gallery, New York, USA

1997
- Open Air Museum Middelheim, Antwerp, Belgium
- Galeria Luisa Strina, Sao Paulo, Brazil

1996
- Galerie Ghislaine Hussenot, Paris, France
- Gandy Gallery, Prague, The Czech Republic
- Galerie Micheline Szwajcer, Antwerp, Belgium

1995
- Galleria Sperone, Roma, Italy
- Galleria Cardi, Milano, Italy
- Gallery Tanit, München, Germany
- Anders Tornberg Gallery, Lund, Sweden
- Musée Départemental de Rochechouart, Rochechouart, Limoges, France

1994
- Galerie Beaumont, Luxembourg, Luxembourg
- Center for the Arts, San Francisco, California, USA
- Modulo, Centro diffusor de Arte, Lisbon, Portugal

1993
- Galleria Tucci Russo, Torino, Italy
- Galerie Ghislaine Hussenot, Paris, France
- Galerie Lehmann, Lausanne, Switzerland

1992
- Kunsthalle Nürnberg, Nuremberg, Germany
- Galerie Micheline Szwajcer, Antwerp, Belgium
- Sonnabend Gallery, New York, USA
- Ruth Bloom Gallery, Los Angeles, USA

1991
- Sonnabend Gallery, New York, USA
- Galerie Lehmann-Faust, Geneva, Switzerland
- Art Gallery of New South Wales, Sydney, Australia
- Castello di Rivoli, Rivoli, Torino, Italy

1990
- Jack Tilton Gallery, New York, USA


GROUP EXHIBITIONS :


2016
- "Turn the Page: The First Ten Years of Hi-Fructose", Virginia Museum of Contemporary Art, USA
- "Carambolages", Grand Palais, Paris, France
- "Everybody's Crazy but Me", Maison Particulière, Brussels, Belgium
- "Takashi Murakami's Superflat Collection Unveiled", Yokohama Museum of Art, Yokohama, Japan
- "Ta.Bu", Maison Particulière, Bruxelles, Belgium

2015
- "Joie de vivre", Palais des Beaux-Arts de Lille, France
- "Belgique", Galerie Templon, Paris, France
- " La Souris et le Perroquet", Villa Arson, Nice, France
- "Doux Leurre - Camouflages Contemporains", Galerie des Beaux Arts, Bruxerolles, France
- "Architecture & Sculpture", Fondation VillaDatris, l'Isle sur Sorgue, France
- "SupraEnvironmental", Katonah Museum, Katonah, USA
- "Museum of STones", Noguchi Museum, NYC, USA
- " The Myth of Beauty", Upper Austria State Musem, Linz, Austria
- "Carnal Desire", Museum Villa Rot, Burgrieden-Rot, Germany
- "Referenzen", Galerie Thomas Modern, Munchen, Germany
- "Blickachsen 10", Bad Homburg, Franckurt am Rhein, Germany
- "Tattoo", Museum for Kunst & Gewerbe, Hamburg, Germany
- "I belgi. Barbari e Poeti", Macro, Rome, Italy
- "Arts & Foods - Triennale di Milano", Milano, Italy
- "Industriale Immaginario", Collezione Maramotti, Reggio Emilia, Italy
- "Forme a Anti Forme", Fonderia Artistica Battaglia, Milano, Italy
- "BE Diveristy", MUSE Museum, Trento, Italy
- "Eppar si Muove", Mudam, Luxembourg
- "Sweet 18", Kasteel d'Ursel, Hingene, Belgium
- "Surrealism Goes Bananas", Sorry. We're closed, Art Brussels, Belgium
- "Icon", Maison Particulière, Bruxelles, Belgium
- "One Big Family", Commanderie van Alden Biesen, Bilzen, Belgium
- "Les Mondes Inversés", B.P.S.22, Musée d'art de la province de Hainaut, Charleroi, Belgium
- "Obsession", Maisons Particulière, Brussels, Belgium
- "Whorled Explorations", Kochi Biennale, Kochi, India
- "20 + 2 Years", ARNDT @ Helutrans Artspace, Singapore

2014
- "Passions Secrètes", Tripostal, Lille, France
- "The Sea - Salut d'honneur Jan Hoet", Muzee, Oostende, Belgium
- "JISP 2014", Jing'An Biennial, Jing'An Sculpture Park, Shanghai, China
- "Late Harvest", Wiegand Gallery - Nevada Museum of Art, Nevada, USA
- "Art Fahrenheit 451: Sailing into the sea of oblivion", Yokohama Triennale, Yokohama, Japan
- "Bad Influence", Michael Thibault Gallery, Los Angeles, USA
- "Used Me", Herbert Foundation, Gent, Belgium
- "On the Blue Shore of Silence", Tracy Williams, New York, USA
- "Tattoo", Brandts museum, Odense, Denmark
- "Cathedrals 1789 - 1914: A Modern Myth", Musée des Beaux-Arts de Rouen, Rouen, France
- "L'Art Belge - Entre Rêves et Réalités", Musée des Beaux-Arts, Ville de la Chaux-de-Fonds, Switzerland
- "Black Gold", Shirin Art Gallery, Tehran, Iran
- "Wrong's What I Do Best", Walter and McBean Galleries, San Francisco Art Institute, San Francisco, USA
- "Existenzielle Bildwelten", Weserburg Museum of Modern Art, Bremen, Germany
- "Business Model", La Vitrine, Paris, France
- "Health", Belgian Senate, Brussel, Belgium
- "Nouveau Festival", Centre Pompidou, Paris, France

2013
- "Out of Hand. Materializing the Postdigital", MAD Museum of Arts and Design, New York, USA
- "Théâtre du Monde, une exposition des collections de David Walsh", curaté par Jean-Hubert Martin, La Maison Rouge, Paris, France
- "Happy Birthday Galerie Perrotin / 25 ans", Tri Postal, Lille, France
- "Wunderkammer", l'Academia Belgica, Roma, Italia
- "Turbulences II", Villa Empain, Brussels, Belgium
- "Babel", Mucsarnok, Budapest, Hungary
- "Babel", Botanique, Brussels, Belgium

2012
- "Babel", Musée des Beaux-Arts, Lille, France
-«Sint-Jan», Sint Baafs Chathedral, Ghent, Belgium
- "Jing'an International Sculpture Park 2012", Jing'an, China
- "Meta.Morf 2012", Biennal for Art & Technology, Trondheim, Norway
- "ArtJog2102", Yogyakarta, Indonesia

2011
- "Flemish Masters - That's life", Andrea Rosen Gallery, New York, USA
- "Eating Art", Fundacio Caixa Catalunya, Barcelona, Spain
- "Skin", Fondation Claude Verdan, Lausanne, Switzerland
- "Super Organism", CAFAM Biennale, Beijing, China
-"Sint-Jan", Saint-Bravo Chathedral, Ghent, Belgium

2010
- "The State of Things. Contemporary Art of China & Belgium", Bozar, Brussels, Belgium & NAMOC, Beijing, China
- "Bilder vom Künstler, Frankfurter Kunstverein, Frankfurt, Germany
- "Visceral Bodies", Vancouver Art Gallery, Canada
- "Exploded View", OAG, Toronto, Canada
- "Skin", The Wellcome Collection, London, UK
- "Hareng Saur: Ensor & Contemporary Art", SMAK, Ghent, Belgium
- "Decadence Now! Visions of Excess", Galerie Rudolfinum, Prague, The Czech Republic

2009
- "Superabundant" Turner Contemporary Project Space, Kent, UK
- "Mythologies" Haunch of Venison, London, UK
- "The Endless Renaissance", Bass Museum, Miami, USA
- "Colossal-Kunst Fakt Fiktion", Kalkriese, Germany
- "Unconditional Love", La Biennale di Venizia, Arsenale Novissimo, Venice, Italy
- "Messiahs", Modem, Debrecen, Hungary
- "Sk- Interfaces" Casino Luxembourg, Luxembourg
- Biennale of Moscow, Moscow, Russia
- "The State of Things" - Brussels.Beijing, Palais des Beaux Arts, Brussels, Belgium
- "Poëtique du Chantier" Musée-Château d'Annecy, Annecy, France
- "Take me There, Show me the Way, Haunch of Venison, New York, USA
- "Anatomie", collection Florence et Daniel Guerlain, Frac Picardie, Amiens, France
- "Close up", Fruitmarker Gallery, Edinburgh, Scotland

2008
- "Animations/Fictions", MNAC, Bucarest, Romania
- Chanel Mobile Art Mobile Container, Star Ferry Car Park, Hong Kong, China
- Martian Museum of Terrestrial Art, Barbican Art Gallery, London, UK
- "The Glass Experience", Museum of Science & Industry, Chicago, USA
- "Comme des Bêtes", Musée des Beaux Arts, Lausanne, Switzerland
- "Ad Absurdum", MARTa, Herford, Germany
- "Evolution: From Object to Man", Max Lang Gallery, New York, USA
- "Umedalen Skulptur", Umedalen Skulptur Park, Umedalen, Sweden
- "Dichter op de Huid", Fort Asperen, Asperen, The Netherlands
- "Less is less, more is more, that's all", CAPC, Musée d'art contemporain de Bordeaux, France
- "L'argent", Frac Ile de France, Le Plateau, Paris, France
- "Close up", The Fruitmarket Gallery, Edinburgh, Scotland
- "Take me There, (Show me the Way)", Haunch of Venison, New York, USA
- "SK-Interfaces", FACT, Liverpool, UK
- "Doing it my way", Perspectives on Belgian Art, MKM Museum, Germany

2007
- "Negatech", Espacio Fundacion Telefonica, Buenos Aires, Argentina
- "Into Me/ Out of Me", MACRO, Roma, Italy
- "The aggression of beauty II", Arndt & Partner, Berli, Germany
- "Mining Glass", Museum of Glass, Washington DC, USA
- "Intersezione III", Parco Archeologico di Scolarium, Catanzaro, Italy
- "I am as You Will Be", Cheim & Read, New York, USA
- "Capricci ", Casino - Forum d'art contemporain, Luxembourg, Luxembourg
- "Animanga", Exit, Festival International à la Maison des Arts de la Culture, Créteil, France
- "Guesthouse 2007", Mudam Luxembourg, Luxembourg
- "Urban connections", Domaine de Chamarande, France
- "Waaruit bestaat een kus", Monumental Beeldenpark, Bornem, Belgium

2006
- "Fiction@Love", Moca Shanghai, China
- "Yellow Pages Artists", Galerie Magda Danysz, Paris, France
- "Birdspace", Tucson Museum of Art, Tucson, USA
- "The Complex of Respect", Kunsthalle Bern, Switzerland
- "Close Up", Art Centre Silkeborg, Denmark
- "The Originals: Neo-Esthetics of Animamix", Moca Shangai, Shangai, China
- "Take a walk on the wild Side", De Pury & Luxembourg, Zürich, Switzerland
- "World Team - Artists of the Ball, Museum der Bildende Kunste, Leipzig, Germany
- "Nous nous sommes tant aimés", Collections de Saint-Cyprien, Saint-Cyprien, France
- "Reconstruction #1", Sudeley Castle, Winchcombe, UK
- "Glass: Material Matters", LACMA, Los Angeles, USA
- "Into Me/ Out of Me", PS1, New York, USA
- "Eldorado", Mudam, Luxembourg, Luxembourg
- "Art'Fab", La Citadelle, Monaco, France
- "Envisage", Biennal of Shangai, Shangai, China
- "D'Etonnants Détours", FNAC de Picardie, Amiens, France
- "Le Tableau transparent et le Diaphane", Musée National de Monaco, Monaco, France
- "Human Nature", SoFa Gallery, Bloomington, USA
- "Bêtes de Style", Mudac, Lausanne, Switzerland
- "Diagnose", Museum im Kulturspeicher, Würzburg, Germany
- "Into Me / Out of Me", Kunstwerke Berlin, Berlin, Germany

2005
- Panorama da Arte Brasileira, Marco, Vigo, Spain
- "Visionary Belgium", Bozar, Brussels, Belgium
- "La Beauté de l’Enfer", Galerie Rodolphe Janssen, Brussels, Belgium
- "Domicile", Musée d’Art Moderne, Saint-Etienne, France
- "L’Idiotie", Domaine Pommery, Reims, France
- "Burlesques Contemporains", Jeu de Paume, Paris, France
- "Die Obere Hälfte", Städtische Museen, Heilbronn, Germany
- "Big Bang", Centre Pompidou, Paris, France
- "Slow Art", MKP, Düsseldorf, Germany
- "Birdspace", McDonough Museum of Modern Art, Youngstown, Ohio, USA
- "L'Expérience de la Durée", Biennale d’Art Contemporain, Lyon, France
- "Ex 05.01.03103", Cartin Collection, Hartford, Connecticut, USA
- "Connexions", Mamco, Geneva, Switzerland
- "Convergence, E116/N40", 798 Dayalo Workshop, Beijing, China
- "Missies", De Brakke Grond, Amsterdam, The Netherlands
- "Mé Tissages", MIAT, Gent, Belgium
- "Two Asias/Two Europes", Duolon Museum of Modern Art, Shanghai, China
- "On Love", Het Domein, Sittard, The Netherlands
- "Delicious", Sint-Truiden, Belgium
- "Spirit of Dada", Galerie Art Attitude, Nancy, France

2004
- "Panorama da Arte Brasileira", Paço Imperial, Rio de Janeiro, Brazil
- "Birdspace: A Post-Audubon Artists Aviary", Contemporary Arts Center, New Orleans, USA
- "Because the Earth is 1/3 Dirt", CU Art Museum & The Colorado Collection, Boulder, Ohio, USA
- "Settlements", Musée d’Art Moderne, St-Etienne, France
- "Making Visible", Galleri Faurschou, Copenhagen, Denmark
- "La Mort devant Soi", Galerie Guy Bartschi, Geneva, Switzerland
- "Birdspace", Norton Museum of Art, West Palm Beach, USA
- "Giganten/Giants", Den Haag Sculptuur 2004, The Hague, The Nederlands
- "Continental Breakfast", 45th October Salon, Belgrade, Serbia
- "Tatu - tattoo", Royal Museum, Brussels, Belgium
- "Needful things: Recent Multiples", Cleveland Museum of Art, Cleveland, USA
- "Hors d'Oeuvres", CAPC de Bordeaux, Bordeaux, France
- "Bridspace", Hudson River Museum, Yonkers, New York, USA
- "You said erotic", La Maison de Marijke Schreurs, Brussels, Belgium
- "Tongue n Cheek", CRAC Alsace, Altkirch, France

2003
- "Qu’est-ce que la photo-sculpture?", Frac Limousin, Limoges, France
- "Granada de fondo", Centro José Guerrero, Calle Oficios 8, Granada, Spain
- "MuHKA – A choice", MuHKA, Antwerpen, Belgium
- "No Canvas", Galleria Cardi, Milano, Italy
- "Extra", Swiss Institute for Contemporary Art, New York, USA
- "The Disenchanted Mountain", Tour Fromage, Aosta, Italy
- "Phantom of Desire", Neue Galerie, Graz, Switzerland
- "De Manessier à Wim Delvoye", Musée National d’histoire et d’art, Luxembourg, Luxembourg
- "The Ideal City", Bienal de Valencia, Barrio del Carmen, Valencia, Spain
- "Jan Hoet presenteert: Delvoye-Hammons", Les Brigittines, Brussels, Belgium
- "GNS", Palais de Tokyo, Paris, France
- "Scenery", Nuova Icona Gallery, Venice, Italy
- "Paradigm of Love ", Palais Thurn & Taxis, Bregenz, Austria
- "Vanités contemporaines", Musée d’art Roger-Quilliot, Clermont-Ferrand, France
- "Scatalogue", SAW Gallery, Ottawa, Canada
- "Models & Mavericks", Het Domein, Sittard, The Netherlands
- "Outlook", Cultural Olympiad 2001-2004, Athens, Greece
- "Vanitas", De Markten, Oude Graanmarkt , Brussels
- "Delvoye – Kvium – Melgaard – Quinn", Galleri Faurschou, Copenhagen, Denmark
- "Five", Galerie Kusseneers, Lier, Belgium
- "The Ambiguity of the Image", Art Athinai, Athens, Greece
- "scenery", Richard Salmon Gallery, London, UK
- "Perception Destabilisée", Galeries du Cloître, Rennes, France
- "Il Racconto del Filo", Museo di Arte Moderna e Contemporanea, Trento, Italy
- "Lines of Engagement", Sperone , New York, USA
- "Absolut Generations", 50. Biennale Venezia – Zenobio Palace, Venice, Italy
- "ARTour 2003", Musée de Mariemont, Morlanwelz, Belgium
- "Ornament", Luitpoldblock, München, Germany
- "Gelijk het leven is", SMAK, Ghent, Belgium
- "Summer Time", Galerie Loevenbruck, Paris, France
- "Oxymory", Frac Basse-Normandie, Caen, France
- "Magie in Mediakunst", Netherlands Media Art Institute, Amsterdam, The Netherlands
- "Mouvements de fonds", Galeries contemporaines des Musées de Marseille, France

2002
- "Melodrama, Artium", Vitoria-Gasteiz, Spain
- "La Part de l'Autre", Carré d'Art de Nîmes, Nîmes, France
- "From Pop to Now", Tang Teaching Museum, New York, USA
- "To Whom it may Concern", CCAC Wattis Institute, San Francisco, USA
- "Guida", Museion, Bolzano, Italy
- "La vie, au fond, se rit du vrai", CAPC Bordeaux, France
- Busan Biennal, Busan, Corea
- "Melodrama", Palacio de los Condes de Gabia, Granada
- "Vidéo Topiques", Musée d'Art Moderne de Strasbourg, Strasbourg, France
- "Der Berg", Heidelberger Kunstverein, Heidelberg, Germany
- "From Pop to Now", Wexner Center for the Arts, Ohio, USA

2001
- "Give and Take", Victoria and Albert Museum, London, UK
- "Eine Barocke Party", Kunsthalle Wien, Austria
- "The Overexcited Body", Palazzo dell' Arengario, Milano, Italy
- "Confidences", Casino Luxembourg, Luxembourg
- "The Silk Purse Project", Arnolfini, Bristol, UK
- "Between Earth and Heaven", PMMK, Oostende, Belgium
- "Sous les ponts…", Casino Luxembourg, Luxembourg
- "Irony", Fondaçion Miró, Barcelona, Spain
- Sonsbeek 9, Arnhem, The Netherlands
- "Belgisch Atelier Belge", Dexia Gallery, Brussels, Belgium
- "Un art populaire", Fondation Cartier pour l'art contemporain, Paris, France
- "Ironia", Koldo Mitxelena Kulturunea, San Sebastian, Spain
- "Marking the Territory", Irish Museum of Modern Art, Dublin, Ireland
- "Re-Touche", Kunsthal Sint-Pietersabdij, Ghent, Belgium
- "Styx-Projektionen", Kunsthalle Trier, Treves, Germany
- "De Spiegel van het Verlangen", Broelmuseum, Kortrijk, Belgium
- "Arte Y Embutidos", Galeria Museo, Caracas, Venezuela
- "Salon Privé", Galerie Beaumont, Luxembourg
- "Sense of Wonder", Herzliya Museum of Art, Herzliya, Israël

2000
- "Over The Edges", S.M.A.K., Ghent, Belgium
- "Le fou Dédoublé", Château d'Oiron, Oiron, France
- "Zeitwenden - ausblick", Künstlerhaus Wien, Austria
- "Dust & Dirt", Witte Zaal, Ghent, Belgium
- "Du producteur au consommateur", Galerie Duchamp, Yvetot, France
- "Absolut Ego", Musée des Arts décoratifs, Paris, France
- "Partage d'exotismes", 5e Biennale de Lyon, France
- Art unlimited, Art Basel, Switzerland
- "Manif d'Art", Galerie l'œil de poisson, Montreal, Canada
- "Arte all' Arte", Arte Continua, San Gimignano, Italy
- "Luci in Galleria, da Warhol al 2000", Palazzo Cavour, Torino, Italy
- "The world on its head", Art Institute, San Francisco, USA
- "American bricolage", Sperone Westwater Gallery, New York, USA
- "ArtWorks", The Whitechapel Gallery, London, UK
- "Visiones de Latinoamérica - No es sólo lo que vas. Pervirtiendo el minimalismo", Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain

1999
- "De opening", S.M.A.K., Ghent, Belgium
- "L'Envers du Décor", L'Institut d'Art Contemporain, Villeurbanne, France
- "Ruralia", Porin Taidemuseo, Pori, Finland
- 48e Biennale di Venezia, d'APERTutto, Venice, Italy
- "Zeitwenden - ausblick", Kunstmuseum Bonn, Bonn, Germany
- "Dehors - dedans", Musée d'art contemporain de Bordeaux, Bordeaux, France
- "Decoraz(I)on", Centro Cultural Tecla Sala, Barcelona, Spain
- "La Consolation", Centre National d'Art Contemporain de Grenoble, Grenoble, France
- "Animal", Musée Bourdelle, Paris, France
- "54 x 54 x 54", Museum of Contemporary Art, London, UK

1998
- "Spatiotemporal / Verk ur Samlingen 1988-1998", Magasin 3 Konsthall, Stockholm, Sweden
- "Cartographers", Mücsarnok Kunsthalle, Budapest, Hungary
- "Magritte en de Hedenaagse Kunst, PMMK, Ostend, Belgium
- "Angeldust", Hallen, Bruges, Belgium
- "Cartographers", Galerija Maribor, Maribor, Slovenia
- "Voor het verdwijnt en daarna - Watou 1998", Watou, Belgium
- "Patchwork in progress 3", Mamco, Geneva, Switzerland
- "L'Envers du Décor, dimensions décoratives dans l'art du XXe siècle", Musée d'art moderne, Villeneuve d'Ascq, France
- "Cet été là", CRAC du Languedoc-Roussillon, Sète, France
- "Kritische Elegantie", Museum Dhondt-Dhaenens, Deurle, Belgique
- "Baroque", The Slovak National Gallery, Bratislava, Slovakia
- "The summer of 1998", Het Domein, Sittard, The Netherlands
- "Aspetcs de l'art actuel en Belgique", FRAC Nord-Pas-de-Calais, Dunkerque, France

1997
- Kwangju Biennale, Kwangju, South-Corea
- Biennale de Cétignié, Cétinié, Montenegro
- "Cartographers", Galerije Grada Zagreba, Zagreb, Croatia
- "...Objets?" FRAC Lorraine, Metz, France

1996
- "Everything that's interesting is new / The Dakis Joannou Collection", Athens School of Fine Arts, Athens, Greece
- "Sammlung Sonnabend. Von der Popart bis heute. Amerikanische und europäische Kunst seit 1954", Deichtorhallen, Hamburg, Germany
- "Relaciones" Museo de Arte y Diseño Contemporaneo, San José, Costa Rica
- "Interzones", Kunstforeningen, Copenhagen, Denmark
- "Under Capricorn (Art in the Age of Globalisation)", Stedelijk Museum, A'dam + City Gallery, Welington, New Zealand

1995
- "ARS 95", Nykytaiteen Museo, Museum of Contemporary Art, Helsinki, Finland
- "Issues of Empire", Guggenheim Gallery/ Chapman University Orange, California, USA
- "Sculpture & Object", Galleri Wallner, Mälmo, Sweden

1994
- "EV + A Invited", Limerick, Ireland
- "Icastica", Galleria d'Arte Moderna, Bologna, Italy
- "Depois de Amanha / The Day After Tomorow", Centro Cultural de Belém, Lisbon, Portugal
- "Cocido y Crudo", Museo Reina Sofia, Madrid, Spain

1993
- "Post-Human", Deichtorhallen, Hamburg and The Israel Museum, Jerusalem, Israel
- "Curious and Mirabilia", Chateau d'Oiron, Oiron, France
- "Good News", Galleria Cardi, Milano, Italy

1992
- Documenta IX, Kassel, Germany
- "Selectie Belgische kunstenaars voor Documenta IX", Museum Dhondt - Dhaenens, Deurle, Belgium
- 9Th. Biennale of Sydney, Sydney, Australia
- "Post-Human", FAE Musée d'Art Contemporain, Pully/Lausanne, Castelo di Rivoli, Rivoli / Deste Fondation, Athens, Greece

1991
- "Kunst, Europa, Belgien, Niederlande, Luxemburg", Kunstverein, Düsseldorf, Germany
- "Anni Novanta", Galleria Comunale d'Arte Moderna, Bologna / Musei Comunali, Rimini, Italy
- "Desplazamientos", Centro Atlantico de Arte Moderno, Las Palmas, Spain
- "Altrove", Museo di Arte Contemporaneo, Prato, Italy

1990
- "Blau, Farbe der Ferne", Heidelberger Kunstverein, Heidelberg, Germany
- "Aperto", Biennale di Venezia, Venice, Italy
- "Artists (From Flanders)", Palazzo Sagredo, Venice, Italy
- "Belgique, une nouvelle génération", FRAC Pays de la Loire, Clisson, France
- "Confrontaciones", Museo Español de Arte Contemporaneo, Madrid, Spain
- "Kunstenaars van Vlaanderen", Museum van Hedendaagse Kunst, Ghent, Belgium

1988
- "Confrontatie & Confrontaties, Museum of Contemporary Art, Ghent, Belgium

Wim Delvoye - Teheran Museum of Contemporary Art

Wim Delvoye - Teheran Museum of Contemporary Art

Livres

42,65 €

Wim Delvoye - Action Doll

Wim Delvoye - Action Doll

Artists Editions

207,50 €

Wim DELVOYE - Early Works

Wim DELVOYE - Early Works

livre

  • out of stock
Wim DELVOYE - Knocking on Heaven's door

Wim DELVOYE - Knocking on Heaven's door

livre

  • out of stock
Wim DELVOYE - Wim DELVOYE

Wim DELVOYE - Wim DELVOYE

livre

  • out of stock
  • 2015, March
    Robb Report — 4 PAGES

  • 2014, November
    Frieze Magazine — 1 PAGE

  • 2014, October
    Huffington Post — 4 PAGES

  • 2014, October
    Harper's Bazaar Art Korea — 2 PAGES

  • 2014, September
    The Wall Street Journal — 2 PAGES

Wim Delvoye / Nicolas Bourriaud

Nicolas Bourriaud: Ever since 1988 when I first encountered your work, you’ve constantly been using the aesthetic surroundings of your native town of Ghent and of Flanders, and expanding them to a planetary scale. You explore a kind of mental realm, a deposit of shapes and forms. In this way, you draw on the work of David Hammons…

Wim Delvoye: It’s true. I’ve always liked the way Hammons formulates universal issues based on a local language. You don’t have to be black to experience his work; it speaks directly to you. His work has remained top ranked for nearly thirty years. Picasso too always remained Spanish. My alphabet refers to this realm; but my language is global, universal. Yet 70 per cent of my work could not be done in the United States. The country is far too puritanical.

NB: There are two types of demands in terms of identity behind your work—the European identity in contrast to Anglo-Saxons, on the one hand; and your masculine identity as a reflection of feminism, on the other.

WD: I’m a boy and I’m not ashamed of what I’m made up of: science, trucks, cars, models, and to a certain extent my aggressive side. And I never use the female body. Except in stained glass windows. Most of the time, however, I explore scatology: the colon and the stomach. Sexuality interests me less than digestion does as a subject and as a metaphor. I’m more interested in themes that unify. In the 1990s, women artists began focusing their work on a new subject: their sexuality. This quasi-institutionalized separatism of the 1990s shocks me. It’s politically correct: all of a sudden, during the post-cold war period, people could no longer hide behind the flag. The United States of Mickey Mouse was over. Everyone had to invent an identity for themselves. There were so many good social projects camouflaging a kind of visual poverty…Art is not by definition morally good. I’ve never believed in justifying one’s good heart or intelligence through art.

NB: How is it important to show this negativity in art, this bad disposition? How does this inspire your work?

WD: It’s a more efficient way to criticize the world. At first glance, people will think that I’m not politically correct, but at the same time, my work is as critical as Hans Haacke’s work. But I’m the one who, like Jesus, kisses Judas. I embrace the negative. Observers notice my contradictions by themselves at times: I’m a vegetarian, yet I have a pig farm.

NB: You put forth the figure of an artist capable of inventing an entire economics system, of being totally self sufficient. What does this entrepreneurial side signify for you?

WD: I hire craftsmen, ceramists, glaziers, and batallions of lawyers whenever I print convertible bonds. I see this as a criticism of art-as-investment-product. It’s not easy for artists to produce monetary shares, you have to negotiate. I didn’t think it was possible at first, and that itself was incentive. It’s difficult to invent a machine that produces excrement in a museum (“Cloaca”), and the idea was launched by the same kind of desire to go further. Is it art? In Flemish, when people say, “It’s not an art,” that means that it’s not difficult to do. The yellow pages are my studio. I read: carpenter, lawyer, ceramist…I make a phone call. Sometimes I go to a workshop and I don’t have any idea. I just go because it seems interesting. I speak with the boss for half an hour, but I ask him questions about his machines. How does it work ? With a laser, with water? How do they drill?

NB: I’ve always been interested in the relational aspect of your work. You actually go out and meet people when you’re producing…

WD: I learned French while I was putting together my “la Vache qui rit” collection for “On the Origin of Species.” Each work serves a purpose by showing me something: for example, I could be a radiologist without having to study to the age of 29. I currently have an X-ray machine and I can make diagnoses. “Cloaca” was the high point of this procedure. Each of my pieces demonstrates that being an artist represents a choice.

NB: If we had to describe Wim Delvoye’s visual landscape, there would be two pivotal axes: one is the world of the frieze—decorative, the elegance of arabesques; the other is excrement. I see all of your work revolving around these two extremes, the decorative and the excremential. You either juxtapose these absolute opposites—the organic and the decorative—or you keep them apart.

WD: Artists make art and birds sing. I see only one undertaking in the social and sexual struggle: to seduce and to set yourself apart from the others. This could be a primitive with feathers on his head, or a peacock fanning its tail. But everything good in art is “useless.” You have to accept being rational. Look at the wide variety of colors in nature, all those birds singing for nothing…The females who go and select a mate who sings best make up a Jury of Waste. We are the result of millions and millions of seductive acts that were successful genetically. And everything is wasted. The ornament to an extent is a form of waste. Shit is too, for everyone. This is the most cosmopolitan image in existence, more universal than Jesus or Coca-Cola.