Posts Tagged ‘Jake and Dinos Chapman’

Jake OR Dinos Chapman: Going it Alone

Wednesday, October 26th, 2011
Jake and Dinos Chapman - One Day You Will No Longer Be Loved

Jake and Dinos Chapman - Detail from - One Day You Will No Longer Be Loved

Jake and Dinos Chapman recently showed at White Cube in London in their first ‘non-collaborative’ show, where each worked separately on works isolated in their studios bringing their art together in the final stage of the exhibition: much like the working method of ‘exquisite corpse’ – the Surrealist game where each contributor adds his part to a drawing without revealing his artistic input to the other.

Their interest in shocking their audiences with puerile and playful provocations against bourgeois culture is evident in their sticking genitals on childrens’ and adults’ bodies in inappropriate places: In an interview with curator Norman Rosenthal at 92Y, Jake Chapman said, “Victoria Miro [their gallerist at the time] was a lovely demure bourgeois woman… Our interest was stimulation…we learned that if we called a sculpture ‘fuckface,’ it attained value – you could hear Victoria on the phone talking to some collector saying, “Yes, I can do you a fuckface, or a two-faced cunt.” We were interested in how far we could affect, invade bourgeois language…”

© Jake & Dinos Chapman – God does not love you O.M.F.G., White Cube gallery

© Jake & Dinos Chapman – God does not love you O.M.F.G., White Cube gallery

Jake Chapman, artist, © Kisa Lala

Artist Jake Chapman, © Kisa Lala

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Vanitas: The Transience of Earthly Pleasures

Friday, October 29th, 2010

By Kiša Lala

Kate MccGwire, Slick,  2010,  Magpie and crow feathers, mixed media and antique fire basket, 250 x 250 cms

Kate MccGwire, Slick, 2010, Magpie and crow feathers, mixed media and antique fire basket, 250 x 250 cms

All Visual Arts, an arts organization based in London’s Fitzrovia, showed an exhibition of works at Frieze around the tradition of Vanitas, and the theme of memento mori, with art containing symbols and reminders of death. Joe La Placa, one of the curators behind the show, explained, “the original Vanitas works were a response to the culture of conspicuous consumption in Holland in the 17th Century, and a reminder that you can make all the money you want, but you can’t take it with you…”

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François Pinault’s passions revealed at the Punta Della Dogana

Wednesday, February 3rd, 2010
By Kiša Lala
Franois Pinault with the architect Tadao Ando on the Grand canal

François Pinault with the architect Tadao Ando on the Grand Canal. Photo: Graziano Arici

At the entrance to the city of Venice, parting the waters between the Giudecca and the Grand Canal like a ship’s prow, is the Dogana di Mare, the Sea Custom House from 1677. The Dogana was the port of entry policing the lucrative trade from the Silk Road of exotic cargo from the Orient and a beacon of medieval power, like the Lighthouse of ancient Alexandria. Long neglected, this crumbling decaying watchtower reclaimed attention when it was sought by the Guggenheim Foundation,which with Zaha Hadid as architect, coveted its premises to host its own collection. But in the end, Venice favoured François Pinault’s plans, who, having dropped the Île Seguin project on the Seine, was looking for a second home for his private collections, already installed in the Palazzo Grassi across the canal. (more…)