|If you don't know me, this is a good way to understand my obsession with POOP.
||[Feb. 12th, 2003|12:05 pm]
HOLY SH!T!!! Thanks, showerball, for that link to the EGG arts show site about CLOACA. You guys must read this excerpt from Wim Delvoye's interview. It's AMAZING how much I agree with this man. I mean, this is exactly why I talk about poop all the time. It's the essence of PLOP. People Like Other People - everyone poops. Undeniable. Wow. Mr. Delvoye, "you complete me." Hah! A match made in the bathroom? I think definitely.|
EGG: Where did your fascination with human waste come from?
Wim Delvoye: In '92, I did the tiles, and then I was much more interested in the image of the shit. But already, shit was for me an equalizer, something that's like the most cosmopolitan object ever. I mean, poor people, rich people, male, female, black, white, whatever, anywhere, south, north ... wherever you go, people understand "Cloaca." People understand the shit; people have something to do with shit. Old or young, whatever. So from '92 I did these mosaics, between '90 and '92, and these were these kitchen tiles where I had pictures, photographs, with shits printed on them. And these tiles, together, were like making a medallion. They were very seductive, like making something very, very decorative. And from far away, you saw something very noble, very kitschy, beautiful and so on, and when you got closer, you see they're just turds. It was like looking for the object but at the same time, I really discovered the power of shits. It's universal. It doesn't make a distinction between the sexes, the races, the classes, the generations. It is so universal. And "Cloaca" is like that, too. You can bring "Cloaca" to China, you can bring it wherever, and people will understand. People might think it's art, or they might think it's not art. But they will take an interest in it and they will somehow understand the piece, I think.
The contrast between labor and the investment of time and money to make this machine is completely not in proportion to the end product. This is probably something that a utilitarian society such as the U.S. would feel very strongly about. All this labor, all this caring, this nurturing for nothing. It's like bringing water to the sea.
EGG: So, you're full of shit.
WD: We're living in a society where there's no intimacy left anymore, nearly. For example, people go to a party; they meet each other; they have a couple of drinks and they go to bed and they have great sex. That's what happens nowadays everywhere in the world. But then you've got those [people who have spent] five years together or ten years together and they're in a hotel, and one of the two has to brush his teeth and he opens the door, "Oh, I'm sorry." The other one's on the toilet. It's very rarely that couples don't mind about each other's pooing; to see each other in this vulnerable position on the toilet and so on. So there is still like a taboo, it is still something, even after five or ten years, between two people. It's so ... it makes us so aware of our fragility, our vulnerability. It's so personal, it's so intimate, that I thought if a machine could do that, this very personal thing that everybody does in the morning or in the afternoon, you know, that would be very, very diabolic. That would be very perverse. And that interested me, to have a machine doing it so publicly. But at the same time you're not offending anyone. You're not offending any group or religion. And it's so weird that this machine does it, because it's probably the most intimate thing you can achieve with another person. It's like pooing together or something.
Wow. I mean, WOW. I wonder if Cloaca's still in the New Museum. Oh man, if it is....