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Wim Delvoye (b. 1965)
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Wim Delvoye (b. 1965)

Caterpillar Scale Model #5

Details
Wim Delvoye (b. 1965)
Caterpillar Scale Model #5
melamine faced MDF and metal
49¼ x 35 7/8 x 83¼in. (125 x 88.5 x 211.5cm.)
Executed in 2002
Provenance
Galerie Nathalie Obadia, Paris.
Literature
Wim Delvoye - Gothic Works, exh. cat., Manchester, Manchester Art Gallery, 2002 (illustrated, p. 35; design illustrated, p. 45; larger version illustrated, pp. 46-47).
Wim Delvoye - Fabrica. exh. cat., Prato, C-Arte Prato, 2004 (larger version illustrated, p. 22).
Exhibited
Lyon, Museé d'Art Contemporain, Caterpillars, May-August 2003.
Special Notice

No VAT will be charged on the hammer price, but VAT at 15% will be added to the buyer's premium which is invoiced on a VAT inclusive basis.
Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent.

Lot Essay

"In his art, Wim Delvoye gleefully cultivates the paradox. With each parody he also eludes to something profound, with every provocation he simultaneously expresses some deep affection. He operates on the opposite side of ambivalence. Instead, Delvoye always remains unusually explicit in his interests and themes, no matter how improper or unfashionable they might appear. Thus, when he presents a certain part of his oeuvre as his 'Gothic Works,' he obviously refers to all meanings of the term at once and all with equal intensity. Delvoye seems to be just as fascinated by the historical achievements of that particular era, as he is by the more contemporary interpretation of 'Gothic' as a denominator for a certain stylization of horror. Besides, the impurity of this signifier was there from early on. 'Gothic' was a pejorative term for medieval architecture that prevailed in Italian art-historical writings from around 1500. And although the denigrating connotations with the supposedly barbarian culture of the Goths have all been straightened out since then, the 'politically incorrect' term itself has never been abandoned (apart from, say, in a recent Oxford History of Art). Precisely this uneasy association of an aesthetic experience of the highest refinement with a very basic emotion like fear is probably what stimulates Delvoye to return to the Gothic in his work time and again" (E. Carels, "Dark Light," reproduced at www.cloaca.be).

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