Artwork historical past
#artwork historical past #exhibition #sculpture #Wim Delvoye
“Ball Observe Venus Italica” (2023), patinated bronze, 173 centimeters excessive. All photos © Wim Delvoy, courtesy of the Musée d'artwork et d'histoire, Geneva, distributed with permission
In 1802, the Italian sculptor Antonio Canova produced a marble sculpture often known as the “Venus Italica”, particularly commissioned by Napoléon Bonaparte and supposed to switch one other statue of Venus within the Louvre in Paris. Among the many many different statues and historic artifacts on the Geneva Museum of Artwork and Historical past, the “Venus Italica” gives the inspiration for an inventive intervention by the Belgian artist Wim Delvoye.
As a part of an ongoing program referred to as XL white cardboard, MAH invited the artist-curator to reimagine the establishment's exhibitions, asking the basic query: “How will we perceive the abundance of objects, paperwork, artifacts and all of the proof of creative and sensible actions that type the cultural sedimentation of the place?” ?” Delvoye's reply got here within the type of order of issues a large-scale exhibition in a number of of the museum's galleries.
Set up view of “The Order of Issues” (2024)
Delvoye is understood for its creative use of supplies, painstaking craftsmanship and experimentation with expertise. He usually crosses the blurred line between conventional artwork methodology and immediately's digital realm. For this present, the artist was tasked with choosing objects from the gathering, together with objects that will not have been highlighted not too long ago, and constructing connections between previous and current.
All through the exhibition, Delvoye tackles themes of safety – intrinsic to the mission of a museum – in items such because the “Rimowa Traditional Flight Multiwheel 971.70.00.four”, a metallic suitcase or a sequence of bespoke velvet-lined trunks such because the “Case for Moped “. ”, which is completely suited to a motorized bicycle. And in a sequence of embossed aluminum works, he attracts on artifacts like a 16th-century engraved metal. Morion, or helmet, in “Untitled (Engraved Helmet)”, which depicts an elaborate metallic helmet.
Delvoye additionally performs with irony in each written and visible language, as in “La peur du vide,” or “the concern of vacancy,” through which the shell of a classic racing automotive sits amongst preparations of historic armor. And in a number of circumstances, traditional sculptures just like the “Venus Italica” are changed into ball tracks, a pun on the concept of ”historic marble.”
The Order of Issues continues till June 16. See extra on the artist's web site and Instagram.
Left: “Rimowa Traditional Flight Multiwheel 971.70.00.four” (2013), embossed aluminum, 74.5 x 52 x 26 centimeters. Proper: Element of “Ball Observe Venus Italica” (2023)
“Untitled (Engraved Helmet)” (2017), embossed aluminum, 14 x 23 x 29 centimeters
Set up view of “The Order of Issues” (2024), gallery of Venus Italica, Musée d'artwork et d'histoire de Genève. Photograph by Stefan Altenburger
“Worry of vacancy”. Set up view of “The Order of Issues” (2024), Armory Gallery, Geneva Museum of Artwork and Historical past. Photograph by Stefan Altenburger
“The correct return of issues.” Set up view of “The Order of Issues” (2024), Geneva Museum of Artwork and Historical past. Photograph by Stefan Altenburger
“Case for Moped” (2004), aluminum, lacquer, felt, Peugeot Vogue moped, 70 x 175 x 115 centimeters, 100 kilograms
“Nautilus” (2017), laser-cut stainless-steel, 72 x 68 x 32 centimeters
Set up view of “The Order of Issues” (2024), Entrance Corridor of Venus and Adonis, Musée d'artwork et d'histoire de Genève. Photograph by Stefan Altenburger
#artwork historical past #exhibition #sculpture #Wim Delvoye
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