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If
it is true that refinement and exaltation of the vital aspects
(also the most perverse ones, or those linked to the transience
of things) are characteristic of Flemish culture and tradition,
we can consider the work of Wim Delvoye, including his work
for Montalcino, as part of this tradition.
In
the deconsecrated church of San Francesco he has realised
an installation made of perishable elements, which in the
course of time will dry up, transform and, in a certain
way, die. Delvoye has chosen this church because inside
there were already many of the elements referring to this
subject, such as skeletons and an old table for surgical
operations with its annexed tools.
Everything
then talks of finitude and death (but in the end, isn't
the aim of rendering mortal things eternal one of the major
myths and goals of art ? ) but also of transformation, hence
of life and vitality, and this includes his project of leaving
not very much appreciated traces of urine on the ancient
walls of these houses. A tribute/outrage to Duchamp and
to contemporary art itself, constantly trying to expand
some aspects of our existence and to formulate new questions,
even though not always is acknowledged the importance of
what this tradition (so strong in these places) has handed
down.
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