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  "Wim Delvoye: tussen cl...  
Merken we op dat het hier gaat om tegenstellingen van zeer uiteenlopende aard: er is bv. een groot verschil tussen de bovenbeschreven combinatie van kitsch en readymade, die binnen het werk zelf is vervat, en de puur contextuele tegenstelling tussen de 'Cloaca' en de museale context van 'hoge kunst'.
Let us remark in the first place that we are dealing here with different kinds of oppositions: there is, for instance, a big difference between the combination of kitsch and ready-made contained in the work itself, as we described it above, and the pure contextual opposition between the 'Cloaca' and the museal context of 'high art''. Next, and more important, we are not dealing with static oppositions, but rather with formations that are the outcome of an underlying conflict. As the relations between the conflicting forces are changing, also the terms of the compromise are affected, so that a second compromisebetween new terms is to be found. Only such dynamic is able to explain the development of the work of Delvoye.
  'Het'Orgien Mysterien T...  
Daar is om te beginnen het thema van het bloed van de ontmaagding dat al ligt vervat in de vervanging van verf door bloed: bloed op een doek doet denken aan bloed op het witte laken van het bruidsbed.
That is why Nitsch’ substitute slaughter cannot possibly be understood in terms of Freud’s totem meal. During such feast are temporarily lifted the two fundamental taboos of culture – according to Freud: the taboo on parricide and the taboo on incest. Whereas the real parricide was set up by the excluded sons to gain access to the primeval father’s wives, in Nitsch’ ‘Orgien Myserien Theater’, on the contrary, precisely those women at which Freud’s sons were out are skinned and emptied. If there is a parricide at all, than certainly the murder on the masters of the canvas. And even then there is no question of a parricide: rather are we dealing with impotent sons that, like in Freud’s story, are busying themselves, far from the proceedings in the temple, with boyish pranks in the bushes around the temenos – the holy ground.