Wim Delvoye, seen from his London window

I grew up in a small village in Flanders, in Wervik, very close to the French border and Lille.

My first museum?

Churches, because it's free and there are good paintings everywhere!

My parents traveled a lot, especially throughout Spain, and visited all the museums.

I grew up with them in museums.

My dad collects a lot of things, all the postcards from his village, he also created a tobacco museum in Wervik.

There are families that sing, mine looked at art, painted or drew.

I couldn't escape my job, I couldn't miss this!

My parents kept every picture I drew.

I even wrote a book and a retrospective at Mamco in Geneva, around fifteen years ago, which I called “Wim Delvoye, Works of the Sixties”

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At the MAH in Geneva, with the

which circulates metal balls through the museum and the works of art in my collection, I wanted to break the taboo of religious silence in front of art.

I like to play with this idea of ​​relics and icons.

Here, I am an artist, but also an exhibition curator, scenographer and collector.

The collector is the one who has all the powers, who owns the piece and shows what he likes, how he wants.

People often call me baroque and surrealist, which is vain and inevitable when we talk about Belgium.

I don't relate to it, but it doesn't bother me.

Surrealism is a state of mind, not a style.

Life is surreal.

The act of making a work of art that serves no purpose is surreal.

Belgian?

When I open my window, it may be from my little castle near Ghent.

But I live in London now.

I like the Belgians, but I don't like Belgium, too much regulatory and administrative persecution.

In London, I open my window and wait for the crash of crashes that will bring down house prices and give me access to the place of my dreams.

“The Order of Things.

Carte blanche to Wim Delvoye”, at the Museum of Art and History (MAH) in Geneva, until June 16.

The catalog “The Order of Things”, co-published by the MAH and Hatje Cantz, will appear this spring.