Published by Walther König, Köln. Edited by Kathryn Rattee, Emma Enderby. Text by Jake Chapman.
A resource for visual artists and tattoo artists alike, Come and See gathers a group of tattoo drawings and designs by Jake and Dinos Chapman (born 1966 and 1962) and invites the reader to become a Chapman work by having one of their designs done.
Published by White Cube/FUEL. Edited by Honey Luard. Text by Will Self.
Working together since their graduation from the Royal College of Art in 1990, the Chapman brothers are famous for their iconoclastic sculpture, prints and installations that examine contemporary politics, religion and morality with biting wit and energy. "End of Fun" leads on from the original Hell (1999) tabletop tableau that was destroyed in the Momart fire in 2004, and the later Fucking Hell (2008). A three-dimensional collage, "End of Fun" consists of thousands of plastic figurines, many dressed in Nazi regalia or enacting egregious acts of cruelty, displayed in nine glass cases or dioramas. Combining historical, religious and mythic narratives, "End of Fun" presents an apocalyptic snapshot of the twentieth century. This publication begins with a new essay by Will Self that explores both the historical interpretations of hell and how the theme has featured in the Chapman brothers’ work.
Published by FUEL Publishing. Edited by Damon Murray, Stephen Sorrell.
In Bedtime Tales for Sleepless Nights, the Chapman Brothers reconceive the Victorian morality tale for less sanctimonious (and more misanthropic) times. Bearing on its cover the motto “Sticks and stones may break thy bones but words will surely maim you,” this volume offers fans and younger readers alike a darker take on the children’s bedtime book, with gruesomely illustrated rhymes that stray far from the saccharine-coated songs typical of the genre: “This hideous armature/ That hides and seeks/Will outlast the flesh/Its turn to reek/Hung out for death/On spiny barb/Your birthday suit/Now an ill-fitting garb.” The etchings and stories have been made by the artists specifically for this project and are reproduced exclusively in this volume.
Following tthe success of his first novel The Marriage of Reason and Squalor, Jake Chapman now focuses his malice on the calloused underbelly of literature itself. Fragile amateur novelist Christabel Ludd has a bad case of writer's block, and hires self-proclaimed “professionals” to transform her novel into a page-turner: they do so, spinning the tale of Bao Xishun, who saves the lives of some dolphins by using his extremely long arms to fish pieces of plastic flotsam from their stomachs. Working this tale into ever more bizarre incarnations, they finally cause Christabel to despairingly resort to poetry in order to break her block.
Published by Verlag für moderne Kunst Nürnberg. Edited by Robert Eikmeyer.
When the Chapman Brothers' infamous “Hell” sculpture—which featured 5,000 miniature model Nazi soldiers performing atrocities—was destroyed in a London warehouse fire in 2004, they began a modified version called “Fucking Hell.” This audio CD accompanies “Fucking Hell,” and is compiled from live recordings made in 2008.
Published by Walther König. Edited by Veit Görner. Kristin Schrader.
Memento Moronika presents a selection of Jake and Dinos Chapman's sculpture, assembled for an exhibition at the Hanover Kesnergesellschaft, a venue with which the Chapmans have a longstanding relationship. Great installation views and close-ups of drawings, paintings and sculptures are featured.
Published by Kunsthaus Bregenz. Edited by Eckhard Schneider. Essays by James Hall, Rudolf Sagmeister and Jake Chapman.
Talk about sibling ribaldry. Self-professed enfants terribles and brothers Jake and Dinos Chapman enrage some with their art and reduce others to laughter, but no one is neutral about these British provocateurs. The series documented here, including the “Sex” and “Death” sculptures and an installation created for this exhibition, present the bad boys at their most scabrous--and beautifully printed. In a counterintuitive titling, “Sex” shows decomposing bodies swarming with flies and maggots; “Death” depicts blow-up sex dolls engaging in lewd acts. Seriousness of purpose, however, underlies the gut-punching shock, and essays here, as well as drawings and plans never seen before, illuminate the artists' work process. The dolls, for example, are cast in bronze and painted to resemble their original plastic, thus bringing a stolid permanence to a flimsy contemporary commodity.