Sculpture is again given the place of honour in this gallery through Canova, Pradier and even Praxiteles.
Delvoye is the fourth artist to participate in thecarte blanche XLexhibition at the museum.
In this manner, priceless works of art turn into something more fitting for a toy store.
“Vénus Italica.” Sculpture is again given the place of honour in this gallery through Canova, Pradier and even Praxiteles. However, Wim Delvoye’s intervention is quickly felt when our eye attempts to follow a marble traversing Venus’ body, which has become a circuit. (Photo: © Musée d’art et d’histoire de Genève/Stefan Altenburger)
It’s beautiful because the computer does it better.
It has no emotions.
It doesnt see [a] nose or eyes.
“Ball Track Venus Italica.” (Photo: © Musée d’art et d’histoire de Genève/Stefan Altenburger)
Ball Track Venus Italica.
Car bodies, shovels and suitcases emerge as symbols of a full arsenal of protection.
From historical helmets to fire extinguishers, from dishes to cars, ornamentation distinguishes functional objects as unique pieces.
“Venus Italica” or “Venus Coming Out of Her Bath” by Antonio Canova and “Ball Track Venus Italica” by Wim Delvoye. (Photos:© Musée d’art et d’histoire de Genève/ B. Jacot-Descombes/© Studio Wim Delvoye)
The rectitude of the crucifix disappears, and the passion of Christ finds new expression in this enigmatic twist.
(Photo: Musee dart et dhistoire de Geneve/Stefan Altenburger)
Knocking on Heavens Door.
Untitled (Engraved Helmet) by Wim Delvoye andMorion(c. 1570-1580) unknown.
Photo: © Musée d’art et d’histoire de Genève/Stefan Altenburger
(Photos: Musee dart et dhistoire de Geneve/N.
Sabato/ Studio Wim Delvoye)
The Order of Things Installation + St-Francis Xavier (c. 1700).
(Photo: Musee dart et dhistoire de Geneve/Stefan Altenburger)
Le juste retour des choses.
Photo: © Musée d’art et d’histoire de Genève/Stefan Altenburger
(Photo: Musee dart et dhistoire de Geneve/Stefan Altenburger)
L’ordre des choses.
(Photo: Musee dart et dhistoire de Geneve/Stefan Altenburger)
Room Fait a la main.
Plunged into darkness, this gallery plays an impressive perceptual and conceptual magic trick.
Twisting sculpture based on “Venus and Adonis” by Antonio Canova. (Photo: © Musée d’art et d’histoire de Genève/Stefan Altenburger)
(Photo: Musee dart et dhistoire de Geneve/Stefan Altenburger)
Related Articles:
“La peur du vide.”As the name indicates, this room explores the artistic repercussions of the phenomenon of horror vacui, which refers to an ornamental practice aiming to fill the totality of a surface or an object with features and details to replace the empty with the full. The installation reveals our culture’s passion for ornamentation to decorate and fill the surface of both noble and functional objects from many areas. Car bodies, shovels and suitcases emerge as symbols of a full arsenal of protection. From historical helmets to fire extinguishers, from dishes to cars, ornamentation distinguishes functional objects as unique pieces. (Photo: © Musée d’art et d’histoire de Genève/Stefan Altenburger)
“Dual Möbius Quad Corpus” is the title of a well-known Wim Delvoye piece in polished bronze that depicts four Christ-like bodies intertwined and seeming to reinforce the strip of the same name. The rectitude of the crucifix disappears, and the passion of Christ finds new expression in this enigmatic twist. However, in using the stained glass windows from the fifteenth century, the artist deepens his reflection on movement. (Photo: © Musée d’art et d’histoire de Genève/Stefan Altenburger)
“Knocking on Heaven’s Door.” With a replica of the tower of Brussels in laser-cut stainless steel, this room hosts one of Delvoye’s “Gothic” style symbols. In this period room of the museum, the Castle of Zizers’ Ceremonial Room, the tower is alongside a model of the Scaligeri funerary monuments in Verona, which inspired the Brunswick Monument.(Photo: © Musée d’art et d’histoire de Genève/Stefan Altenburger)
“Untitled (Engraved Helmet)” by Wim Delvoye andMorion(c. 1570-1580) unknown. (Photo credits:© Musée d’art et d’histoire de Genève/ F. Bevilacqua/© Studio Wim Delvoye)
“Rimowa Classic Flight Multiwheel” by Wim Delvoye and “Ceremonial Roundel” (c. 1557-1560), attributed to Eliseus Libaerts (1557-1572). (Photos:© Musée d’art et d’histoire de Genève/N. Sabato/© Studio Wim Delvoye)
“The Order of Things” Installation + “St-Francis Xavier” (c. 1700). (Photo: © Musée d’art et d’histoire de Genève/Stefan Altenburger)
“Le juste retour des choses.” By bringing together old paintings from Delvoye’s own collection, remarkable paintings from MAH’s storerooms and famous names like Raphael, Picasso, Warhol and even Lucas Cranach, this space is immediately distinguished by the breadth of the questions it invokes. But its unique quality is the vast marble circuit that traverses the room and even through some of the pieces (that do not belong to the MAH). (Photo: © Musée d’art et d’histoire de Genève/Stefan Altenburger)
Photo: © Musée d’art et d’histoire de Genève/Stefan Altenburger
“L’ordre des choses.” This part of the installation, which borrows the exhibition’s overall title, returns to the passion of collecting and immerses us in the artist’s personal obsessions. Here, we find Delvoye’s collection of Vache qui rit ® cheese box labels and four display cases that combine the artist’s and the museum’s coin collection. Who is more enthusiastic, the tyrosemiophile (collector of cheese labels) or the numismatist (coin collector)? (Photo: © Musée d’art et d’histoire de Genève/Stefan Altenburger)
![Room Fait à la main [Handmade] Exhibition The Order of Things (2024)](https://mymodernmet.com/wp/wp-content/uploads/2024/06/wim-delvoye-order-of-things-fb.jpg)
“Room Fait à la main.” Plunged into darkness, this gallery plays an impressive perceptual and conceptual magic trick. With detonators alongside their madrier planks designed to blow open doors during a military siege and hand-carved tyres (again among Delvoye’s iconic work), the artist seems to be playing with the museographic codes reserved for contemporary and conceptual art. (Photo: © Musée d’art et d’histoire de Genève/Stefan Altenburger)
