Wim Delvoy at Rodin's

It is always interesting to compare contemporary art to more modernist or even renaissance art. Trends, inspirations, critics and observations from today’s artist become more apparent. Placed next to their inspirations make the artist’s intentions clearer. Taking a walk through Paris with a particular person, whom it is important to say is not into art,  I convinced her to follow me to Rodin’s museum situated close to “Les Invalides”. In it there was a short, yet interesting expo on the belgian artist Wim Delvoye, renowned for his tattooed pigs and his digestive machines “Cloaca”. This exposition will last until August 22nd.

For me it was compelling to go to this expo because in it, I saw a chance to convert this person into contemporary art because of it’s perticular setting. Realy, I din’t want to go alone and it was a chance to make her not  leave the museum after 15 minutes. Though I regret the lack of certain works for the Delvoye expo, the way in which they interacted with the french sculptor's  was yet not to be discarded.  It was all about comparisons and contrasts in time and object. The objects were placed among the sculptor’s as a fish in a tank.

First, Delvoye’s “Tour” (tower), a nearly gothic, nearly dreamy/unreal 11 meter high metal tower  swept me off my feet. Particularly,  it’s peak paralleled with the Eiffel’s and the Invalides’s, made me think of a fantastic novel, something you read but never really see. Moving on. Delvoye had also a mini replica of his studio gate, the “Gate”. In it he created a direct comparison to Rodin’s “Porte de l’Enfer” based on Dante’s novel, la Divina Comedia. Delvoye shorcuts the relation schema by placing on his work:  “Lasciate ogne speranza voi ch’intrate” (He who enters must let go of any hope) which is exactly what Dante wrote on his. Nevertheless he added that typical capitalist references and sarcasm. It constitutes his own very Gates of Hell with Mr Clean and the Warner Brothers logo opening the way. 

Last, but definitely not least, in one of the rooms of the museum, the commissionaire decide to place on every side of the room two pairs of painted vases. One of the pairs was of ancient greek design by Rodin himself. The other side of the room presented Delvoye’s version of painted greek vases. His were on gas tanks. Compelling enough, the title of his works, “Gandagas” are the tank’s brand, it’s sign of commercial provenance. Very Duchamp. Opposed to the more ancient ones, it clearly demonstrated an inspiration on the artist’s part but also an opinion in the sense that the work of art is as much as the drawings on the vas as the vase itself. A part of the creation of a work of art is the material, the support itself and not only the work done on it.

So, in conclusion of this visit, the intention of the museum, to place works from these two different artists, separated by time and career, can nevertheless show that art is alive, taking from its sources and reinventing itself endlessly. Overall, an easy, fun and light expo to see and share with people you want to convert to art. While your at it, take a stroll in Rodin’s gardens, a simple way to relax after a museum visit.