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Servant, clown or enemy

2024

Aline Bouvy

Rarely have you seen the female body depicted in this way in public space. The bronze sculpture looks naked, grotesque and almost theatrical. It is playful and uncomfortable. With this work of art, Bouvy questions how female bodies are depicted in the cityscape: as temptation, as a symbol of power, or as something in between?

© Aline Bouvy, Photo: Tom Cornille

Details

  • Plan number: M45
  • Zone: Human Nature
  • Title: Servant, clown or enemy
  • Creator: Aline Bouvy
  • Date: 2024
  • Material: bronze
  • Acquisition: loan by the artist
  • Object number: MIDTEMP001

The sculpture is based on a 3D scan of her own body. This not only makes the work of art personal — it also shows that not only well-known historical figures can be placed on a pedestal.

The statue contrasts sharply with classic female statues that you see on pedestals in the city. With enlarged physical features and a provocative pose, Bouvy gives an ironic twist to female representation. The title refers to the roles that artists can take on in public space: sometimes they are servant, clown or enemy. You can embrace that role ... or undermine it.

The garment, designed by Adam Halleux, plays along with this ambiguity: it simultaneously conceals and reveals the nude. This creates an image that is not unambiguous, but rather chafes, plays and disrupts. Bouvy created this artwork for the fifth edition of Publiek Figuur in the Antwerp City Park, inspired by the historical collection of Kunst in de Stad.

Aline Bouvy (1974) lives and works in Brussels. She is a multidisciplinary artist who explores gender, body and public space. In her work she challenges social norms and beauty ideals, often critically and playfully at the same time. Bouvy represents Luxembourg at the Venice Biennale in 2026. Her work is exhibited internationally.

From the same artist

Artwork Image
© Alyne Bouvy. Photo: Tom Cornille

Aline Bouvy

A female profile in stainless steel towers above a circle of poisonous plants. The shape refers to the ‘witch’s rein’, a medieval torture device that was used to silence noisy women. The result is both fascinating and uncomfortable: a sculpture that plays with control, humiliation and the boundaries of the body.

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