Jake-Or-Dinos-Chapman-1 Mason's Yard
Jake-Or-Dinos-Chapman-1 Mason's Yard

Jake or Dinos Chapman. White Cube

Mason’s Yard & Hoxton Square, London

15 Jul—17 Sep 2011

Text by Francesca Di Fraia

Probably the only ones of the Young British Artists group that did not graduate at the Goldmiths Art College, Jake and Dinos Chapman return to  East London with a show titled Jake or Dinos Chapman. The exhibition is hosted by White Cube, the private gallery owned by the ex Conservative MP and popular art dealer, Jay Joplin. Being closely associate whit the YBA group, Joplin’s gallery almost accounts for a Post-human trend temple.

Jake-Or-Dinos-Chapman-1 Mason's Yard

Jake or Dinos Chapman, as the title suggests, occupies two separate buildings: the old industrial development in Hoxton Square, and the White Cube branch in Mason’s Yard, not too far from Piccadilly. This physical separation speaks of what the essence of the Chapman brother’s work is, a singular duality (unlike Gilbert & George’s), a research which is independent from each other’s objectives. A research where aesthetics is not the ultimate goal or result. In fact, aesthetics is what needs to be disfigured, what has to be challenged and finally defeated in the spirits of their early post-human production. As a matter of fact, in 1992 the bothers established a shared discourse  as ‘sore-eyed scopophiliac oxymorons with a benevolent contingency of conceits’.  Once again they present revolting iconoclastic sculptures, card board sculptures made of recycled material (in other words ‘rubbish’), disfigured mannequins, and religious subject paintings set in a humble, if not squalid, environment. It is, of course, what the two artists intended to achieve. Challenging the contemporary politics, religion and morality, no matter how supposedly surpassed these are since, as the brothers believe, Nazi-fascism is the ‘return of the repress’. As Dinos claims, the Chapman brothers ‘don’t believe in a progressive culture’ and such belief, or lack of it, translates into a shocking absence of prettiness. In a world context of established powers, jet sets, markets, influential figures, and faiths, the Chapman brothers wittingly seek to suggest that ours might be a different world if the its symbols are de-coded and re-coded, and consequently cast in a miserable environment.

Francesca Di Fraia

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The Author

Francesca Di Fraia

Francesca Di Fraia

Francesca Di Fraia is specialized in History of Art and Cultural Relations. Her
main interests are visual arts and theatre. In 2004 she worked as a mime at the
San Carlo Opera House in Naples, Italy. In 2006 she moved to London to work
as a Modern Foreign Language teacher in a Language College. In 2007 she
worked as an Art Consultant for Enzina Fuschini, an Italian designer based in
England. In 2008 she gave lectures on Contemporary Spanish Cinema at King’s
College, University of London. Meanwhile, from April 2008 to January 2010
she worked as a curator for the Korean artist Francesca Cho for whom she
organized a three-day exhibition at Fulham Library in London which took place
in July 2009. She also held talks at the Korean Institute of Culture for a project
entitled “Korea’s Cultural Legacy” where Francesca Cho’s work was a
fundamental part of the celebration of the rich culture of the above mentioned
Asian country.
In the spring of 2010 Francesca Di Fraia started to work as a freelance journalist
for Art a Part of Cult(ure) and 1F Mediaproject, both Cultural Associations
based in Rome founded by the Italian artist Raffaella Losapio.

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