Wim Delvoye

Centro Pecci, Prato

Judging from his retrospective exhibition—the first of a new series at the Centro Pecci, now directed by Daniel Soutif—the lure of the scatological has gained the upper hand in Wim Delvoye’s recent work. Yes, the show also contained works from the ’80s and ’90s, all based on paradox: soccer goalposts made using ancient stained-glass techniques (Goals, 1989–92) and just waiting for the first irreverent kick to shatter them; Gas Canisters, 1988–89, decorated in the style of Delft porcelain; and the baroque Concrete Mixers, 1990–92. But this all seemed to be mere prologue, constituting the childhood of an artist who today has finally come into his maturity and out in the open with his obsession with bodily fluids and residues—and, in particular, with shit. Indeed, the exhibition revolved around the large Cloaca Turbo (Sewer Turbine), 2003, a complex mechanical- chemical-electronic mechanism

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