Delvoye places his own work in dialogue with a historical museum’s holdings, resulting in a kind of “elegant vandalism”.
Belgian artist Wim Delvoye’s (born 1965) conceptual, often shocking installations and sculptures question the boundaries between art and everyday life. This volume accompanies an exhibition at the Musée d’art et d’histoire de Genève (MAH) in which Delvoye was given carte blanche to juxtapose his own works with the museum’s holdings.
