ISBN 978-3-9523767-4-4
WIM DELVOYE
WIM DELVOYE
目录 CONTENTS 人性之暴 —— 麦勒画廊威姆 · 德尔瓦个展 文: 卢迎华
本画册为 Wim Delvoye个展“WIM DELVOYE”而出版 2011年5月14日至7月31日展出于中国北京麦勒画廊 北京-卢森
The Cruelty of Humanness Written on the occasion of Wim Delvoye’s solo exhibition at Galerie Urs Meile
This catalogue was published on the occasion of Wim Delvoye’s solo exhibition “WIM DELVOYE” at Galerie Urs Meile, Beijing-Lucerne, Beijing, China, from May 14 to July 31, 2011
by Carol Yinghua Lu
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作品 Artworks
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简历 Biography
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版权 Imprint
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致谢 艺术家工作室全体工作人员，麦勒画廊 北京-卢森全体工作人员，以及所有参与和协助完成此项目的朋友们。
Acknowledgements The staff at the artist’s studio, the staff at Galerie Urs Meile, Beijing-Lucerne, and all the people who have participated or assisted in the realisation of this project.
“WIM DELVOYE”, 麦勒画廊 北京-卢森, 中国北京, 2011
“WIM DELVOYE”, Galerie Urs Meile, Beijing-Lucerne, Beijing, China, 2011
人性之暴 —— 麦勒画廊威姆 · 德尔瓦个展
The Cruelty of Humanness Written on the occasion of Wim Delvoye’s solo exhibition at Galerie Urs Meile
文：卢迎华
by Carol Yinghua Lu
我们可以从一个艺术家的创作中得出有关其世界观的局部判断，在比利时艺术家威姆 · 德尔瓦那里，我们很难判断出什么带有
If we could partially gauge an artist’s worldview from his or her art, there is little romance to be derived from Belgian artist Wim Delvoye’s prospect. Neither is there room for hypocrisy in his work. As viewers, we have no escape, but are instead confronted with what Delvoye (*1965 in Wervik, Belgium) once described as “a cruelty of the body” in the ways he portrays and represents humanness - ways that are often blunt and blatant, lacking in subtlety or diplomacy.
罗曼蒂克意味的东西。他的作品也不给伪善留有任何余地，作为观者的我们无法回避而不得不去面对的是德尔瓦所说的那种 对“身体的残忍”，他用这种直接而嚣张的方式勾画和呈现人性，不带圆滑和世故。 德尔瓦曾让朋友在诊所中呈现露骨的性行为，用X光记录下来，再将X光片夹在有色玻璃片中，制作出一种带有中世纪彩画玻璃 窗形式的效果。如此一来，人的肉体消失了，你看到的是亲吻着、爱抚着、互相取悦着的骨架和骷髅头。这种景象非常罕见，却 又写实而逼真。他在北京经营了一家养猪场，请当地的纹身师在一口口活猪身上刺刻纹身，把这些“活油画”养大后当做纹身 猪皮或者纹身标本猪售卖。德尔瓦将给小猪纹身看做是“在小件艺术品上投资，用喂养的方式让其生长”的譬喻，养大小猪实 际上就是让投资升值。在北京开猪场之前，他已经在比利时、法国、俄罗斯、美国和意大利等地实践过给猪刺身的行为，时间 可以追溯到上世纪九十年代。
He’s made friends perform explicit sexual acts in medical clinics and had them recorded with X-ray scans, which were then sandwiched between colored glass to make windows in the tradition of medieval stained glass. Instead of human flesh, you see skeletons engaging in kissing, fondling and pleasuring each other. It’s a rather unfamiliar sight, yet it’s both realistic and real. Delvoye has run a pig farm in Beijing, where live pigs were tattooed by local tattoo artists and these “live canvases” were raised and eventually sold either as a piece of tattooed pigskin or a stuffed tattooed pig. The artist has seen tattooing small pigs as an allegory for “investing in a small art piece that just grows by feeding it”, and likened the raising of the tattooed pigs to raising an investment. Prior to opening his pig farm in Beijing, Delvoye had been tattooing live pigs since the 1990s in Belgium, France, Russia, the USA and Italy, among other places.
更有甚者，他还制作了可以消化和排泄的机器。 “如果真的想要表现人的样子，你得去寻找人性。”1 因此，德尔瓦的创作围绕 “装饰在 两个核心展开： “一个是装饰的世界，充满条纹的优雅；另一个是排泄物的世界。”2 这位艺术家认为两者区别不大： 某种程度上就是一种浪费。” 德尔瓦迄今为止最为知名的作品可能是《泄殖腔》（Cloaca）。这是一个大型项目作品，模拟了人的消化系统功能，作品以各种 形态和化身存在。简单来说，它就是一件吃喝拉撒的机器。展出时，聘请厨师准备餐饭给这件运转的机器或曰人体机器进行有 规律地喂食，一般每天两顿；机器会尽职地将残留的固体挤压排泄到传送带上，这些排泄物再用真空塑胶袋包装，以每袋初 始1,000 美元的价格出售。艺术家还成立了名为泄殖腔的公司，这些“粪便”的价格摇身一变成为公司实际的股份资本，价格 也于短期内升至 3,000 美元一袋。 《泄殖腔》生产的粪便象征了什么在这里发生了有趣的转变，从作为一件艺术品代表艺术家 价值的极端符号转变为作为公司股份体现经济价值的金融产物，这也进一步让它的存在具有了合法性和有效性。 《泄殖腔》不仅仅是一种对浪费的沉思。一部可以生产粪便的机器被艺术圈接受并赋予很高的价值，这其实是对九十年代中
Above all, he has made machines that digest food and discharge excrement. “If you really want to show a portrait of mankind, you have to look for the humanness,” the artist has said.1 For that matter, Wim Delvoye’s works revolve around two pivotal axes: “one is the world of the frieze - decorative, the elegance of arabesques; the other is excrement.”2 The artist, however, sees little difference between the two: “The ornament, to an extent, is a form of waste.”
Cloaca, probably by far Delvoye’s best-known work, is a large-scale project that duplicates the functions of the human digestive system and exists in a variety of models and incarnations. Simply put, Cloaca is a machine that eats and shits. When exhibited, regular food is prepared by chefs and fed at intervals (usually twice a day) into the workings of the machine, or should we say, the human machine. It then dutifully extrudes the remaining solids onto a conveyer belt, which are finally vacuum-packed and sold in acrylic cases. While initially priced at $1,000 each, the cost quickly rose as high as $3,000 when the Cloaca faeces became the actual capital shares of the Cloaca company. This was a very interesting shift in the nature of what Cloaca faeces could actually symbolize, as it went from being an extreme emblem of artistic value to an object of financial value as the share of a company, which further legitimized and validated its existence.
期以来随着互联网和网络经济的兴盛而越来越商品化的艺术界的一种挑衅。在一个一切都可以被贴上价签当做艺术品出售的 时代， 《泄殖腔》得以广受认同和欢迎这一事实是对艺术系统本身以及被看做有价值的事物的讽刺。这件作品恰恰嘲弄了承 载其呈现和操作的艺术内部结构。曾经担任新美术馆（New Museum）高级策展人的丹 ·卡梅隆（Dan Cameron）这样评论这件 作品： “德尔瓦复制模仿了我们身体最重要的一项机能，迫使观众思考带有这种机能的社会不适感，希望他们能主动质疑为了 隐藏自身而建构起来的精密而复杂的文化机制。”3 尽管《泄殖腔》没有出现在北京麦勒画廊此次德尔瓦的个展中，但这件作品对于理解艺术家的其它作品是有决定意义的。比 如在“纹身猪皮”系列和“标本猪”系列中，德尔瓦把纹身图样刺在猪身上，把纹身猪皮和标本猪当做作品售卖，再一次挑战了 艺术系统和我们这个社会的宽容度和价值观念。他在北京开设的艺术农场一直运营到去年，继续让“中国制造”的产品在国际 艺术语境中展出、消费和流通。观众可能会对在活猪身上纹身的观念感到不适，但这些产品获得了艺术品的身份，保证了自身
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Cloaca was not simply a meditation on waste. The fact that a machine that produced shit was accepted and highly valued in the art circle was rather a provocation to an art world that had become increasingly commercialized since the mid-1990s, with the arrival of the Internet boom and dotcom economy. During an era when everything could potentially carry a price tag as an art object, Cloaca and its wide acceptance and popularity were a parody of the art system itself and what was considered valuable at the time. It mocked the very structure that supported its presentation and operation. Dan Cameron, former Senior Curator of New York’s New Museum has written of Cloaca, “by replicating one of our most crucial biological functions, Delvoye forces viewers both to consider our social discomfort with such functions and to question the elaborate cultural mechanisms that we have constructed to keep them from view.”3 Although absent from his solo exhibition at Galerie Urs Meile, the understanding of Cloaca is a crucial reference to his other works. Take his “Pigskins”, and “Stuffed Tattooed Pigs” series for example, with which Delvoye once again challenged the level
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在艺术系统内具有了某种免疫力和积极价值。正是这个系统允许了这种操作形式的存在，在这一项目中，艺术家用悖论的方式 刻画了这个系统的面貌。一方面，系统拥有绝对权威，可以赋予那些在其逻辑和框架内被生产出的产品以艺术价值和货币价 值；同时，系统不得不尊重和容忍对于系统本身哪怕是最为刺耳的评论，这些评论恰恰因为其批判的立场而意义重大。德尔瓦 不愿让我们继续对潜藏于这一体制下的暗流视而不见，他选择将之毫无保留地呈现在我们面前。 《艺术农场》记录了他在中国 开办养猪场的经历，影像从三个不同角度拍摄。 除了《艺术农场》的三屏视频投影和一些纹身猪皮作品之外，德尔瓦还会在此次北京麦勒画廊的个展中呈现各种讽喻的产品， 与我们分享他与艺术界和社会的对峙经验。他不断地质疑艺术系统的界限和既定秩序，证明了自己有能力创作出不仅仅是看 起来抓人眼球甚至是装饰性的物品和雕塑，也能让它们拥有他希望我们在尝试理解艺术界的逻辑和我们存在的多面性时去思
of tolerance and the notion of worthiness in both the art system and our societies by tattooing patterns on live pigs and selling both tattooed pigskins and stuffed pigs as his artworks. With his Art Farm in Beijing, which existed until its closure last year, Delvoye continued to have the products that were “Made in China” exhibited, consumed and circulated within the international art context. Despite the potential discomfort people might find with the idea of tattooing on live pigs, their status as artworks, however, grants them a certain immunity and positive value within the art system. The very system that sustained this operation was portrayed in a paradoxical light through this project. On one hand, the system has the authority to endorse artistic and monetary value of something that is produced within its vocabulary and parameters; at the same time, the system has to respect and tolerate even the harshest comment on the system itself, and such works are significant precisely because they take on such a critical position. Delvoye, however, wouldn’t want us to continue turning a blind eye to the underlying currents of such a mechanism, and instead brings it to us without disguise. Art Farm is a documentary of the operation of his pig farm in China, shot on video from three different angles.
考的问题。 此次个展中还将呈现两件由一组夹含X光片的有色玻璃制作而成的作品。X 光片上记录着动态十足的情侣形象。其中一件作品 由古希腊掌管艺术和科学，并给这两种学科提供灵感的九位缪斯女神之一的名字命名，德尔瓦邀请自己的朋友在 X 光诊所进 行性行为，用 X 光记录下来，将之简化为纯粹的生理图式。此次北京的展览中，也将展出“哥特风格”的另外一组重要作品《混 凝土搅拌机（模型比例1:4）》（2010）、 《水泥卡车（模型比例）》（2008）和《自动卸货卡车（模型比例）》（2007），在这几件
In addition to the three-screen video projection of Art Farm and some of his tattooed pigskins, Wim Delvoye will also share with us various sardonic products of his confrontational engagements with the art world and society in his exhibition at the Beijing branch of Galerie Urs Meile. In his incessant interrogation of the limits and accepted order of the art system, Wim Delvoye has proven himself capable of creating objects and sculptures that appear to be eye-catching and even ornamental, yet at the same time address important issues Delvoye would like us to keep in mind as we attempt to understand how the art world operates and to consider the multiple facets of our own existence.
钢制雕塑作品上，我们可以看到精心刻绘的哥特风格图案。 有用与无用的可置换性是德尔瓦运用旧物品的原则，他把日常生活中看起来有用的物品转变为纯粹装饰性的物件，使之具有了 与日常生活使用不同的价值。这些物品在实用语境下变得无用，但在艺术语境中却被赋予了视觉和艺术价值。比如他曾用手工 制作的方式给汽车轮胎加上精细的花样设计，将其转换为纯粹好看的物品。 德尔瓦用他的作品为我们呈现了物理身体和社会结构的人性，我们看到的并不总是令人愉悦、温暖或者一般说来有建设性的 一面，但其对我们的生存来说是同样有效和密切相关的。德尔瓦将我们这座社会工厂带来的不可见威胁暴露于阳光下，把它 们置于艺术语境中，赋予它们文化的、以及因文化而具有的金融价值的意义，以此思考和揭露文化工业机制。 此次个展零散选取了德尔瓦的一些重要实践以供观众获取有关其创作的第一印象，这些实践不过是德尔瓦艺术的冰山一角， 画廊希望通过这次展览向观众介绍这位近十年来最为多产的艺术家。
作者卢迎华（Carol Yinghua Lu）是生活在北京的艺术评论人和策展人，她也是杂志《frieze》的特邀撰稿人，并为2011年威尼 斯双年展金狮奖评委，最近被聘为2012年光州双年展艺术总监之一。
Among the selection of works presented in the exhibition are also two that come from a series of stained glass windows incorporating images of X-ray photographs of cavorting couples, one being named after one of the nine muses of Greek mythology - Greek goddesses that ruled over the arts and sciences and offered inspiration in those subjects. This series involves Delvoye’s friends performing sexual acts in medical X-ray clinics and being captured on X-ray film, reduced to nothing but pure mechanical and graphic patterns. An important branch of Delvoye’s “Gothic Works” is also presented in Beijing with Concrete Mixer (scale model 1:4) (2010), Cement Truck (scale model) (2008) and Dump Truck (scale model) (2007). They are steel sculptures with meticulously carved, Gothic-style patterns. The notion of the interchangeable nature of what’s useful and what’s useless continues to inform Delvoye’s manipulation of used objects. He transforms things that seem useful in everyday life into purely decorative items that then carry a different value from their everyday uses. Such items then become less useful in a practical context, but they are assigned a visual and artistic value in the art context. For example, he has handcrafted used car tires with intricate designs, turning them into purely beautiful objects. With his work, Delvoye continuously exposes us to the humanness of both the physical body and our social structures, particularly those sides that are not always pleasant, warm or generally considered constructive, but are equally valid and relevant to our being. Delvoye makes bare the less visible threads of our social fabric by giving them a place in the art context, and grants them a cultural and thus monetary sense of worthiness, simultaneously contemplating and revealing the mechanisms of the cultural industry. Loosely grouped to give a first impression of some of Delvoye’s important practices, this solo show offers barely the tip of the iceberg in terms of introducing the complex oeuvre of one of the most prolific artists of the last decade.
翻译：苏伟
Carol Yinghua Lu is an art critic and curator based in Beijing. She is a Contributing Editor to frieze magazine. She is on the Jury for Golden Lion Award at the Venice Biennale in 2011 and has recently been appointed as one of the Artistic Directors for the 9th Gwangju Biennale, which will take place in 2012.
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1
参见 Abstracts of a Conversation with the Artist，Wim Delvoye（《与艺术家威姆 · 德尔瓦的对话摘要》）JOSEFINA AYERZA， http://www.lacan.com/frameVII11.htm
1
Josefina Ayerza, “Wim Delvoye: Abstracts of a Conversation with the Artist”, http://www.lacan.com/frameVII11.htm
2
参见 Wim Delvoye: An Interview with Nicolas Bourriaud（《威姆·德尔瓦：一次与尼古拉斯 · 博里奥德的访谈》），1 May 2007， http://www.speronewestwater.com/cgi-bin/iowa/articles/record.html?record=554
2
Nicolas Bourriaud, “Wim Delvoye: An Interview with Nicolas Bourriaud”, 1 May 2007, http://www.speronewestwater.com/cgi-bin/iowa/articles/ record.html?record=554
3
参见 Dan Cameron: Wim Delvoye: Cloaca（《威姆·德尔瓦：泄殖腔》）http://www.newmuseum.org/exhibitions/360
3
Dan Cameron, “Wim Delvoye: Cloaca”, http://www.newmuseum.org/exhibitions/360
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《混凝土搅拌机 (模型比例1:4)》2010 耐候钢激光切割 (高) 82 x 56.5 x 34.5 cm
“Concrete Mixer (scale model 1:4)” 2010 lasercut corten steel (H) 82 x 56.5 x 34.5 cm
《自动卸货卡车 (模型比例)》2007 耐候钢激光切割 (长) 278 x 83 x (高) 98.5 cm
“Dump Truck (scale model)” 2007 lasercut corten steel (L) 278 x 83 x (H) 98.5 cm
《水泥卡车 (模型比例)》2008 耐候钢激光切割 (长) 298 x 86 x (高) 120 cm
“Cement Truck (scale model)” 2008 lasercut corten steel (L) 298 x 86 x (H) 120 cm
无题 (轮胎 2), 2009 手雕轮胎 直径 77 x 27 cm
无题 (卡车轮胎 1), 2009 手雕轮胎 直径 122 x 38 cm
untitled (car tyre # 2), 2009 handcarved car tyre Ø 77 x 27 cm
untitled (truck tyre # 1), 2009 handcarved car tyre Ø 122 x 38 cm
无题 (轮胎 2), 2009, 局部
untitled (car tyre # 2), 2009, detail
无题 (蝴蝶/耶稣在心中), 2007 猪皮纹身, 玻璃框架 (高) 190 x 139 cm (框)
untitled (Butterflies/Jesus Inside), 2007 tattooed pigskin, framed between glass (H) 190 x 139 cm (frame)
无题 (独立钟), 2006 猪皮纹身, 玻璃框架 (高) 190 x 139 cm (框)
untitled (Liberty Bell), 2006 tattooed pigskin, framed between glass (H) 190 x 139 cm (frame)
无题 (独立钟), 2006, 局部
untitled (Liberty Bell), 2006, detail
detail
《战利品 (模型比例 2:5)》2010 仿古铜 (长) 83 x 31 x 36 cm
detail
“Trophy (scale model 2:5)” 2010 patinated bronze (L) 83 x 31 x 36 cm
无题 (星期一), 2008 钢, 铅, X 光片, 彩色玻璃 (高) 200 x 80 cm
untitled (Monday), 2008 steel, lead, X-rays, stained glass (H) 200 x 80 cm
《忒耳普西科瑞》2001-2002 钢, 铅, X 光片, 彩色玻璃 (高) 200 x 80 cm
“Terpsichore” 2001-2002 steel, lead, X-rays, stained glass (H) 200 x 80 cm
《艺术农场》2007 视频装置 麦勒画廊 北京-卢森展览现场, 中国北京, 2011
“Art Farm” 2007 video installation Installation view at Galerie Urs Meile, Beijing-Lucerne, Beijing, China, 2011
《艺术农场北京》2003-2010
“Art Farm Beijing” 2003-2010
“WIM DELVOYE”, 麦勒画廊 北京-卢森, 中国北京, 2011
“WIM DELVOYE”, Galerie Urs Meile, Beijing-Lucerne, Beijing, China, 2011
“WIM DELVOYE”, 麦勒画廊 北京-卢森, 中国北京, 2011
“WIM DELVOYE”, Galerie Urs Meile, Beijing-Lucerne, Beijing, China, 2011
WIM DELVOYE (威姆 · 德尔瓦)
WIM DELVOYE
1965
1965
生于比利时韦尔菲克 生活和工作在比利时根特
主要个展
Selected Solo Exhibitions
“威姆·德尔瓦”，麦勒画廊 北京-卢森，中国北京
2011
“Wim Delvoye”, Galerie Urs Meile, Beijing-Lucerne, Beijing, China
“威姆·德尔瓦”，布雷根茨美术馆，澳大利亚霍巴特
“Wim Delvoye”, MONA, Hobart, Australia
“Wim Delvoye: Dessins & Maquettes”，MAMAC，法国尼斯
2010
“Wim Delvoye: Dessins & Maquettes”, MAMAC, Nice, France
“威姆·德尔瓦”，罗丹美术馆，法国巴黎
“Wim Delvoye”, Musée Rodin, Paris, France
“敲天堂之门”，BOZAR，比利时布鲁塞尔
“Knocking on Heaven’s Door”, BOZAR, Brussels, Belgium
“泄殖腔 N°5”，de l’UQAM画廊，加拿大蒙特利尔
2009
“Cloaca N° 5”, Galerie de l’UQAM, Montréal, Canada
“Wim Delvoye: Torre”，古根海姆美术馆，意大利威尼斯
“Wim Delvoye: Torre”, Guggenheim Collection, Venice, Italy
“威姆·德尔瓦”，Ernst Museum (Mucsarnok Nkft)，匈牙利布达佩斯
2008
“Wim Delvoye”, Ernst Museum (Mucsarnok Nkft), Budapest, Hungary
“威姆·德尔瓦”，Diehl + Gallery One，俄罗斯莫斯科
“Wim Delvoye”, Diehl + Gallery One, Moscow, Russia
“威姆·德尔瓦”，Rodolphe Janssen画廊, 比利时布鲁塞尔
“Wim Delvoye”, Galerie Rodolphe Janssen, Brussels, Belgium
Emmanuel Perrotin画廊, 法国巴黎
2007
Galerie Emmanuel Perrotin, Paris, France
“泄殖腔第四代”，新北京画廊，中国北京
“Cloaca Quattro”, Xin Beijing Gallery, Beijing, China
“威姆·德尔瓦: 泄殖腔2000 – 2007”，卢森堡赌场，卢森堡
“Wim Delvoye: Cloaca 2000 – 2007”, Casino Luxembourg, Luxemburg
2006
“泄殖腔 N°5”，高雄市立美术馆，台湾高雄
2006
“Cloaca N° 5”, Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan
2005
“比例模型和绘画”，Sperone Westwater，美国纽约
2005
“Scale Models & Drawings”, Sperone Westwater, New York, USA
2004
“泄殖腔改进版”，The Power Plant，加拿大多伦多
2004
“Cloaca – New & Improved”, The Power Plant, Toronto, Canada
“Oeuvres sur papier 1968 – 2004”，Nathalie Obadia画廊，法国巴黎
“Oeuvres sur papier 1968 – 2004”, Galerie Nathalie Obadia, Paris, France
当代艺术博物馆，法国里昂
2003
Musée d’Art Contemporain, Lyon, France
“哥特”，公共艺术基金会项目，美国纽约
“Gothic”, Public Art Fund Project, New York, USA
“Fabrica”，C-Arte，意大利普拉托
“Fabrica”, C-Arte, Prato, Italy
“泄殖腔改进版”，新当代艺术博物馆，美国纽约
2002
“Cloaca – New and Improved”, New Museum, New York, USA
“大理石地板”，Sperone Westwater，美国纽约
“Marble Floors”, Sperone Westwater, New York, USA
“哥特作品”，曼彻斯特市美术馆，英国曼彻斯特
“Gothic Works”, Manchester City Art Galleries, Manchester, UK
“哥特作品”，Sperone Westwater，美国纽约
“Gothic Works”, Sperone Westwater, New York, USA
2001
“泄殖腔改进版”，Migros博物馆，瑞士苏黎世
2001
“Cloaca – New and Improved”, Migros Museum, Zürich, Switzerland
2000
“水泥卡车”，蓬皮杜艺术中心，法国巴黎
2000
“Cement Truck”, Centre Georges Pompidou, Paris, France
“泄殖腔”，MuHKA，比利时安特卫普
“CLOACA”, MuHKA, Antwerp, Belgium
1998
Sonnabend画廊，美国纽约
1998
Sonnabend Gallery, New York, USA
1997
米德黑姆露天博物馆，比利时安特卫普
1997
Open Air Museum Middelheim, Antwerp, Belgium
1992
Sonnabend画廊，美国纽约
1992
Sonnabend Gallery, New York, USA
1991
Sonnabend画廊，美国纽约
1991
Sonnabend Gallery, New York, USA
里沃利城堡，意大利里沃利
Castello di Rivoli, Rivoli, Italy
2011 2010
2009 2008
2007
2003
2002
主要联展 2010 2009
32
born in Wervik, Belgium lives and works in Ghent, Belgium
Selected Group Exhibitions
“事物状态——中比当代艺术交流展”，BOZAR，比利时布鲁塞尔；中国美术馆，中国北京
2010
“The State of Things. Contemporary Art of China & Belgium”, BOZAR, Brussels, Belgium & NAMOC, Beijing, China
“Visceral Bodies”，温哥华美术馆，加拿大温哥华
“Visceral Bodies”, Vancouver Art Gallery, Vancouver, Canada
“神话”，Haunch of Venison画廊，英国伦敦
2009
“Mythologies”, Haunch of Venison, London, UK
“无限的文艺复兴”，巴斯美术馆，美国迈阿密
“The Endless Renaissance”, Bass Museum of Art, Miami, USA
33
“Colossal – Kunst Fakt Fiktion”，德国卡尔克里泽
“Colossal – Kunst Fakt Fiktion”, Kalkriese, Germany
第三届莫斯科双年展，俄罗斯莫斯科
3rd Moscow Biennial, Moscow, Russia
“sk-Interfaces”，FACT，英国利物浦
2008
sk-Interfaces, FACT, Liverpool, UK
“Comme des Bêtes”，洛桑美术馆 ，瑞士洛桑
“Comme des Bêtes”, Musée des Beaux Arts, Lausanne, Switzerland
“Ad Absurdum”，MARTa，德国黑尔福德
“Ad Absurdum”, MARTa, Herford, Germany
“Umedalen Skulptur”，Umedalen 雕塑公园，瑞典乌默奥
“Umedalen Skulptur”, Umedalen Sculpture Park, Umedalen, Sweden
“Less is less, more is more, that’s all”，波尔多当代艺术博物馆，法国波尔多
“Less is less, more is more, that’s all”, CAPC Bordeaux, Bordeaux, France
“Close Up”，The Fruitmarket画廊，英国爱丁堡
“Close Up”, The Fruitmarket Gallery, Edinburgh, UK
“带我去那（告诉我路）”，Haunch of Venison画廊，英国伦敦
“Take Me There (Show Me the Way)”, Haunch of Venison, New York, USA
“Into Me/Out of Me”，MACRO，意大利罗马
2007
“Into Me/Out of Me”, MACRO, Rome, Italy
“Intersezione III”，Parco Archeologico di Scolacium，意大利卡坦扎罗
“Intersezione III”, Parco Archeologico di Scolacium, Catanzaro, Italy
“I Am As You Will Be: The Skeleton in Art”，Cheim & Read，美国纽约
“I Am As You Will Be: The Skeleton in Art”, Cheim & Read, New York, USA
“宾馆 2007”，卢森堡现代艺术博物馆，卢森堡
“Guesthouse 2007”, Mudam Luxembourg, Luxembourg
“虚拟的爱”，上海当代艺术馆，中国上海
2006
“Fiction@Love”, Moca Shanghai, Shanghai, China
“Into Me/Out of Me”，PS1，美国纽约
“Into Me/Out of Me”, PS1, New York, USA
“Eldorado”，卢森堡现代艺术博物馆，卢森堡
“Eldorado”, Mudam Luxembourg, Luxembourg
“视觉的比利时”，BOZAR，比利时布鲁塞尔
2005
“Visionary Belgium”, BOZAR, Brussels, Belgium
里昂当代艺术双年展，法国里昂
Biennale d’Art Contemporain, Lyon, France
“两个亚洲，两个欧洲——国际当代艺术展”，多伦现代美术馆，中国上海
“Two Asias/Two Europes”, Duolun Museum, Shanghai, China
2004
“开胃菜”，波尔多当代艺术博物馆，法国波尔多
2004
“Hors d’Oeuvres”, CAPC Musée de Bordeaux, Bordeaux, France
2003
“Extra”，纽约瑞士学院，美国纽约
2003
“Extra”, Swiss Institute, New York, USA
“GNS”，东京宫，法国巴黎
“GNS”, Palais de Tokyo, Paris, France
“Melodrama”，Artium，西班牙维多利亚
2002
“Melodrama”, Artium, Vitoria-Gasteiz, Spain
“La Part de l’Autre”，Carré d’Art Nîmes，法国尼姆
“La Part de l’Autre”, Carré d’Art Nîmes, Nîmes, France
“从波普到当下”，Tang Teaching博物馆，美国纽约
“From Pop to Now”, Tang Teaching Museum, New York, USA
“Give and Take”，维多利亚和阿尔伯特博物馆，英国伦敦
2001
“Give and Take”, Victoria and Albert Museum, London, UK
“Eine Barocke Party”，维也纳美术馆，奥地利维也纳
“Eine Barocke Party”, Kunsthalle Wien, Vienna, Austria
“讽刺”，Fondaçion Mirò，西班牙巴塞罗那
“Irony”, Fondaçion Mirò, Barcelona, Spain
“好奇感”，赫兹利亚当代美术馆，以色列赫兹利亚
“Sense of Wonder”, Herzliya Museum of Art, Herzliya, Israel
2000
“Over the Edges”，SMAK，比利时根特
2000
“Over the Edges”, SMAK, Ghent, Belgium
1999
第四十八届威尼斯双年展，d’APERTutto，意大利威尼斯
1999
48th Biennale di Venezia, d’APERTutto, Venice, Italy
1998
“L’Envers du Décor”，阿斯克新城现代美术馆，法国阿斯克新城
1998
“L’Envers du Décor”, Musée d’Art moderne Villeneuve d’Asq, Villeneuve d’Asq, France
1997
光州双年展，韩国光州
1997
Gwangju Biennale, Gwangju, South Korea
1996
“Everything that’s interesting is new / The Dakis Joannou Collection”，雅典美术学院，希腊雅典
1996
“Everything that’s interesting is new / The Dakis Joannou Collection”, Athens School of Fine Arts, Athens, Greece
1995
“ARS 95, Nykytaiteen Museo”，赫尔辛基当代艺术博物馆，芬兰赫尔辛基
1995
“ARS 95”, Nykytaiteen Museo, Museum of Contemporary Art, Helsinki, Finland
1993
“后人类”，Deichtorhallen，德国汉堡；以色列博物馆，以色列耶路撒冷
1993
“Post-Human”, Deichtorhallen, Hamburg, Germany; The Israel Museum, Jerusalem, Israel
1992
第九届卡塞尔文献展，德国卡塞尔
1992
Documenta IX, Kassel, Germany
第九届悉尼双年展，澳大利亚悉尼
9th Biennial of Sydney, Sydney, Australia
“后人类”，FAE Musée d’Art Contemporain，瑞士洛桑；里沃利城堡，里沃利，意大利都灵；Deste Fondation，希腊雅典
“Post-Human”, FAE Musée d’Art Contemporain, Lausanne / Castelo di Rivoli, Rivoli, Italy / Deste Fondation, Athens, Greece
2008
2007
2006
2005
2002
2001
34
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出版：麦勒画廊 北京-卢森 编辑：麦勒画廊 北京-卢森 文章：卢迎华 翻译：苏伟 (中) 设计：李建辉 摄影：Eric Gregory Powell © 2011 麦勒画廊 北京-卢森, Wim Delvoye 未经出版人的书面许可, 本书所有内容不可用于任何形式及目的, 包括但不限于图片复印、抄录或其他信息存储及文字转换的复制及传播。 印刷：中国北京
Publisher: Galerie Urs Meile, Beijing-Lucerne Editor: Galerie Urs Meile, Beijing-Lucerne Text: Carol Yinghua Lu Translator: Su Wei (C) Designer: Li Jianhui Photography: Eric Gregory Powell © 2011 Galerie Urs Meile, Beijing-Lucerne, Wim Delvoye All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, including but not limited to photocopying, transcribing or by any information storage and retrieval system, without written permission from the publisher. ISBN-13: 978-3-9523767-4-4 Printed in China
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