Gallery Hyundai is pleased to present a survey exhibition of Belgian artist, Wim Delvoye (b. 1965) in Korea. Delvoye is a neo-conceptual artist whose work navigates the boundary between shocking and fascinating by combining fine art forms such as drawing, sculpture, and photography with experimental techniques, philosophical ideas, intriguing materials and craftsmanship. This exhibition will bring together works spanning nearly 20 years including laser-cut gothic steel sculptures, hand-carved tyres, embossed functional objects, photographs of marble floors made with salami and mortadella which all define aesthetic elements of traditional motifs and patterns from different cultures applied onto banal everyday objects and twisting of forms and conceptual context, which are two most crucial ideas in Delvoye’s art world.
Wim Delvoye disassembles and reconstructs everyday objects, subjects, and perception of history. In this process, artist’s iconoclastic works explore the ‘truth’ and human nature. Questioning the notion of ‘perpetuity’, his visually provocative works define binary oppositions such as formalism and conceptualism; craftsman and artist; traditional craftsmanship and contemporary machinery or digital realm; sacred and secular; and high culture and low culture. Delvoye emulsifies different elements created by the paradoxes, making these contrasting notions to exist as one ensemble. These ensembles without its original identities, can be interpreted in infinite number of ways. The artist explores realm of contradictions that is exposed on the surface and suggests the ironies within, separating from formal ideologies. His works never romanticizes nor politicizes, nor even become nostalgic towards certain existence through particular traditional forms, motifs, and social influences, instead, they look from contemporary ontological perspective while embracing different regions, history, and traditions. Artist’s interest in ornamentation, various motifs and forms used in different cultures are applied onto objects’ surfaces to enhance their aesthetic quality. However, in opposition to functional and symbolic relationship between ornamentation and objects, Delvoye aims to raise social hierarchy of ordinary objects by adding ‘aristocratic’ motifs and patterns.
Wim Delvoye(b. 1965, Wervik, Belgium) lives and works in Ghent, Belgium and Brighton, England. His work has been the subject of recent solo exhibitions at institutions worldwide including: Musée Tinguely, Basel, 2017; Tehran Museum of Contemporary Art, Iran, 2016; Mudam, Luxemburg, 2016; DHC/Art, Montréal, 2016; Heydar Aliyev Center, Baku, 2015; Mimicry: Wim Delvoye at the Pushkin State Museum, Moscow, 2014; Wim Delvoye au Louvre, Musée du Louvre, Paris, 2012; MONA, Hobart, 2011; BOZAR, Brussels, 2010; Musée Rodin, Paris, 2010; Guggenheim Collection, Venice, 2009; New Museum, New York, 2002; Centre Georges Pompidou, Paris, 2000; MuHKA, Antwerp, 2000; Documenta IX, 1992. Work by the artist is represented in permanent collections internationally.