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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.
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