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In an interview with Leenaert (2009), Delvoye gives away that he always 'has taken over the eating habits of his partners'. He thinks that such adaptability is typically Belgian: 'The Belgian fakes dead when the enemy arrives: he always agrees' (Thély, 1999). We remind of his 'I have no opinion' .( Bréerette, 2005): This adaptability extends to his geopolitical self conscience. Whereas in the beginning, he took a rather post-colonial stance towards the East, where you can find cheap labour, he soon discovered that China is becoming a world power: he pretends to have been invited to build a Gothic sky scraper in Tian Jin. 'I already feel more Chinese than European'. When he gets commissions for Dubai and Abu Dhabi, he discovers thatGothic architecture owes much to Arabian architecture. Adaptation is so much his second nature that he conceives being an artist as taking poses: 'With the Cloacas I wanted to show to the world that I could have become a crazy scientist... The Art Farm in China, with the tattooed pigs: that was an trial in entrepreneurship.' (Van der Speeten, 2009)' And he adds: 'A caricature and a pose of course. For, whether I tattoo pigs or whether I produce shit, to me it is all about art.' We know how Delvoye has meanwhile arrived in a new phase 'where he feels like an architect' (Van der Speeten, 2009). As we have demonstrated, also his admiration of popular art is only the pose of an adept of 'high' art. And it will by now have become clear that also his 'strategy of radical complicity' is merely a pose...
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