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Chapman for the Duo’S Retrospective in Istanbul Which Had Been on Display During 10/2/2017-7/5/2017

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Chapman for the Duo’S Retrospective in Istanbul Which Had Been on Display During 10/2/2017-7/5/2017 This article was commissioned by the art gallery ARTER (Istanbul, Turkey) and the artists Jake & Dinos Chapman for the duo’s retrospective in Istanbul which had been on display during 10/2/2017-7/5/2017. For further information on the show, please click here. Reviewed by the artists and the editors of the exhibition monograph, this essay was originally written in English. Both the English original and the Turkish translation was published in this monograph. In line with the commissioning brief, the article attempts to provide a critical review of the Chapmans’ art practice while also locating the duo’s artworks within an original theoretical framework. Jake & Dinos Chapman ANLAMSIZLIK ÂLEMİNDE — IN THE REALM OF THE SENSELESS CHAPMAN 23-01-17.indd 3 23.01.2017 17:59 Jake & Dinos Chapman Anlamsızlık Âleminde In the Realm of the Senseless Genel Yayın Yönetmeni | Editor-in-Chief Bu yayın, Jake ve Dinos Chapman’ın Arter’de 10 Şubat–7 Mayıs İlkay Baliç 2017 tarihleri arasında gerçekleşen “Anlamsızlık Âleminde” adlı sergisine eşlik etmektedir. Editör | Editor Süreyyya Evren This book accompanies Jake and Dinos Chapman’s exhibition “In the Realm of the Senseless” held at Arter between İngilizceden Türkçeye çeviri 10 February and 7 May 2017. Translation from English to Turkish Süreyyya Evren [12-15] Anlamsızlık Âleminde Özge Çelik - Orhan Kılıç [22-27] In the Realm of the Senseless Zafer Aracagök [34-45] Jake & Dinos Chapman Münevver Çelik - Sinem Özer [60-75] 10/02–07/05/2017 Küratör | Curator: Nick Hackworth Türkçe düzelti | Turkish proofreading Emre Ayvaz Teşekkürler | Acknowledgements İngilizce düzelti | English proofreading Hussam Otaibi Anna Knight ve tüm Floreat ekibi | and everyone at Floreat John McEnroe Gallery Inc. White Cube Kitap Tasarımı | Book Design Vahit Tuna Kâğıt | Paper stock: Munken Pure 120 gr., Furioso 170 gr. Yazı karakterleri | Typefaces: Ehrhardt, Avenir Şömizdeki iş | Work on the book jacket: Jake & Dinos Chapman Yaraya Tuz | Insult to Injury, 2003 Francisco Goya’nın “Büyük Marifet! Ölülere Karşı!”sı, 39. levha, suluboya tatbik edilmiş | Francisco Goya’s “Great Deeds Against the Dead”, plate 39, watercoloured reworked © Jake & Dinos Chapman Baskı ve Cilt | Printing and Binding Ofset Yapımevi Şair Sokak No: 4 Çağlayan Mah. Kağıthane 34410 İstanbul, TR T: + 90 212 295 86 01 Sertifka No: 12326 © 2017 ARTER Tüm Metinler © Yazarlar | All Texts © Authors Tüm yapıtlar | All works © Jake & Dinos Chapman ISBN: 978-605-9606-04-2 Bütün hakları saklıdır. Yasal sınırlar içinde ve kaynak gösterilmek sureti ile yapılabilecek alıntılar dışında her türlü kullanım ve yararlanma, eser/hak sahiplerinin ve yayıncının önceden yazılı iznine tabidir. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electrical, mechanical or otherwise, without seeking the written permission of the copyright holders and of the publishers. ARTER sanat için alan | space for art İstiklal Caddesi No: 211 34433 Beyoğlu, İstanbul, TR T: + 90 212 708 58 00 F: + 90 212 292 07 90 E: [email protected] arter.org.tr Bu yayında çocuklara uygun olmayan şiddet ve cinsellik öğeleri bulunmaktadır. This publication contains mature and explicit subject matter. CHAPMAN 23-01-17.indd 4 24.01.2017 14:58 İçindekiler Contents 12 Nick Hackworth Jake ve Dinos Chapman’ın Kötümserliği The Pessimism of Jake and Dinos Chapman 22 Nick Hackworth’ün Jake Chapman ile Söyleşisi Nick Hackworth in Conversation with Jake Chapman 34 Jake Chapman Yaraya Tuz... ya da Talihlilerin Talihsizlerden Faydalanması... Insult to Injury... or the Utilisation of the Unfortunate by the Fortunate... 60 Cüneyt Çakırlar Estetik Atalet, Dokunaksız Ölüm: Jake ve Dinos Chapman’ın Alabildiğine Banal Sanatı Üzerine Aesthetic Inertia, Bathetic Death: On the Profoundly Banal Art of Jake and Dinos Chapman 156 Sergideki İşler Works in the Exhibition CHAPMAN 23-01-17.indd 8 23.01.2017 17:59 Aesthetic Inertia, Bathetic Death: On the Profoundly Banal Art of Jake and Dinos Chapman Cüneyt Çakırlar The performative agenda of young British artists (yBas) of the 1990s crystallised around an emphasis on non-art, a populist attempt to merge art and life, a refusal of bourgeois conventions of high art, or in more general terms, an artistic philistinism “valuing the denial itself ” (Bull 1996: 25) and allowing the voluptuous to emerge within art practice. Philistinism, as defned by Dave Beech and John Roberts, “accuses the cultivated refnement of the body as a motivated denial of voluptuousness and excess” and contests how “the ethical value of [the modern] art is secured by impoverishing the body and elevating aesthetic experience and art beyond the voluptuous contingencies, activities and delight” (1996: 126; also 1998; 2002). Julian Stallabrass’s critical take on yBa as “high art lite”, however, emphasises its easily consumable intellectual “lightness” and its “lite” re-enactment of avant-gardism: “[yBa] captures the idea of a fast food ver- sion of the less digestible art that preceded it” (Stallabrass 2006: 2). Stallabrass positions these artists in a postmodern political vacuum: A facile postmodernism, the basis for a ubiquitous irony, was the foundation of this new art, one which took no principle terribly seriously, which pretended not to separate high from mass culture and which, given this relativism, accepted the system just as it was, and sought only to work within it. The new art would be quite as dreadful as the philistines said it was – obscene, trivial, soiled with bodily fuids, and exhibiting a fuck-you attitude – but this time to deliberately use the philistines’ energy and power in the mass media against them. [...] The level of recursion of reference in these projects has moved on from what went before: these artists are not so much engaged in masquerade (in putting on an identity as you would a costume) as in a masquerade of masquerade. High art lite is post-psychoanalytic (2006: 26-48). However, what Stallabrass regards as “anti-intellectualism” or ideological emptiness in yBas (e.g. Jake & Dinos Chapman, Tracey Emin, Marcus Harvey, Damien Hirst, Gavin Turk) as well as their “fathers” Gilbert & George, may also be considered as a subversively blank, performative activity that invests in more than a mode of postmod- ern irony and self-consciousness. If one should associate this artistic movement with philistinism, it would be too easy to reduce this association to a critique that either labels yBa as a failed, commoditised lumpen aesthetics or celebrates its presumably trans- gressive temperament. There remains an ambiguity in discussing yBa along the axes of 78 CHAPMAN 23-01-17.indd 78 23.01.2017 17:59 79 success/failure, ethical idealism/capitalist opportunism, adolescent aggression/active nihilism, or transgression/transformation. What deserves particular attention, though, is not the political effciency of the transgressive aesthetic but the object of critique that such a transgressive urge produces. In this sense, the lack of depth, which is framed through blankness, as in simulacrality or Fredric Jameson’s postmodern pastiche (1992), or dumbness, as in what Stallabrass points to as the “burial of intellect” in high art lite, does not always lead to the presumption of an atheoretical, if not anti-theoretical, textuality/visuality in art practice. Departing from this, I would like to explore the art of Jake & Dinos Chapman by focusing on a particular mode of aesthetic inertia that the duo constructs through their use of violence, exposure, death and mimicry. As I see a meaningful continuity, if not a simple linear progression, within the trajectory of their art practice, this discussion will take the form of an overview on the ways in which the artists’ aesthetic strategies evolved, and overlapped, from “Anatomies” (1994-1997) to “Fucking Hell” (2008) and their later experimentations with their earlier work. In this respect, Chapmans’ manifesto “We are Artists” (1991) is a good starting point: We are sore-eyed scopophiliac oxymorons. Or, at least, we are disenfranchised aristocrats, under siege from our feudal heritage. The graphic heritage of our absent but nevertheless sonorous letraset, honours the dead (and the bad con- science) of past generations, a recollection of the discordance between concepts and pictures. Our discourse offers a benevolent contingency of concepts, a dis- course of end-of-sale remnants, a rationalistic hotbed of sober categories. We have manufactured our products according to the market demands of a decon- structive imperative, and policed them according to the rules of an industrial dispute – our bread is buttered on both sides. We have always already been func- tions of a discourse; in short, our subjectivity (our labor) deserves profession- al interpretation, our mental agitation demands a limitless expressionism, our contractual teleology demonstrates our servility to a cultural climax never to be experienced. The future remains excluded. But sometimes against the freedom of work, we phantasise emancipation from this liberal polity, into a superheav- yweight no-holds-barred all-in mud wrestling league, a scatological aesthetics, for the tired of seeing (Chapmans in Grunenberg & Barson [1991] 2007: 82-3). This statement attempts to enact an artistic subjectivity in the form of a capitalistic Cüneyt Çakırlar, Aesthetic Inertia, Bathetic Death: On the Profoundly Banal Art of Jake and Dinos Chapman CHAPMAN 23-01-17.indd 79 23.01.2017 17:59 desiring-machine. Taking art as manufacturing a product “according to the market de- mands of a deconstructive imperative”, the artists appear to embody and appropriate the postmodern condition in contemporary art practice – as a symptom of advanced late capitalism. They declare an objective to mimic its logic through their artistic labour. In this sense, in search for a “cultural climax never to be experienced”, the artists, through- out their oeuvre, demonstrate and visualise their perverse interest in a phantasmagoria of dysfunctional forms of such artistic labour: an anti-aesthetic that invests in failures of representation (i.e.
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