Inside the Death Drive

BookInside the Death Drive

Inside the Death Drive

Excess and Apocalypse in the World of the Chapman Brothers

Tate Liverpool Critical Forum, 11

2010

June 11th, 2010

£35.00

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This new study critically assesses the work of one of the art world’s most creative and controversial duos. It includes a rare specially commissioned interview with Jake Chapman and features essays from leading international art scholars and commentators. Brothers Jake and Dinos Chapman enrage some with their art and reduce others to hysterics, but no one is neutral about two of Britain's most outstanding artistic provocateurs. Over the last 17 years, they have produced some of the most disturbing and challenging artworks. These essays by leading figures in the field address the oeuvre of Jake and Dinos Chapman from a variety of critical standpoints, examining psychoanalytic, political, semiotic, popular-cultural, philosophical, and aesthetic depths and surfaces of Chapman graphic, sculptural and installation artefacts. In addition, four essays extend the discussion historically and theoretically by considering other artists who’ve attempted to deal with modern horror in graphic, performance and film: the representation of North American indigenous people’s ethno-genocide (Rebecca Belmore, Faye Heavy Shield), Nazi concentration camps (Lee Miller), abortion (Tracey Emin) and dehumanization (the Russian collective AES+F).

Brothers Jake and Dinos Chapman enrage some with their art and reduce others to hysterics, but no one is neutral about two of Britain’s most outstanding artistic provocateurs. Inside the Death Drive critically assesses the work of one of the art world’s most creative and controversial duos. It includes a specially commissioned interview with Jake Chapman and features essays from leading international art scholars and commentators. These writers address the oeuvre of the Chapmans from a variety of critical standpoints, examining psychoanalytic, political, semiotic, popular-cultural, philosophical, and aesthetic depths and surfaces of the brothers’ graphic, sculptural and installation artefacts. In addition, four essays extend the discussion historically and theoretically by considering other artists who have attempted to deal with some of the varieties of modern horror, including the ethno-genocide of North American indigenous peoples (Rebecca Belmore, Faye HeavyShield), Nazi concentration camps (Lee Miller), abortion (Tracey Emin) and dehumanisation (the Russian collective AES+F).

It will no doubt be of interest to fans of the Chapman Brothers. Also to students studying critical theory, art history or perhaps psychoanalytical theory. It will thrill those who wish, “… to focus attention on the dynamic construction of art histories as stimulated by the act of exposition”.

Leonardo Review

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