Issue 15 - Pdf Ctrl+P - CTRL+P: a journal of contemporary art

of the person. In the modern version, everything the person or her personality touches is
provided as “admiration subjects.” The subjects cover everything she touches, as if she
consecrates whatever is around her. This is like a new personality, a kind of “hyper-personality.”
The new narcissistic person is not satisfied by her own admiration and desiring
to be admired by the millions. You see this same mechanism with all pop-stars. In this
worship of narcissism the sacrifice is “art” on the altar of spectacle.
Vulnerable Points
There are several vulnerable points in Tracey Emin’s work. Maybe one of the most
stigmatic one is that, in spite of all the everyday image, carelessness, randomness or
openness, her works are treated in the same way, as more conventional art pieces. We
have seen that two times: first, in the fire of warehouse; second, in the intervention of
two Chinese artists. However there is a virtue, of which we find plenty of samples in
other contemporary artists, although missing a little with Emin: temporary character of
the work. Many contemporary artists are creating their works that destroy themselves or
turn into something else with the participation of other people. However, if it were not
burned in the fire, The Tent would remain the same forever. Maybe an artistic instinct
prevented her to do it second time and in this way it has become more meaningful. When
we look at to the case of Yuan Chai and Jian Jun Xi, behind a humorous curtain we can
realize a more sophisticated and political theme, which is like a divine punishment to
the intentionally apolitical character of Emin’s art. After their “participation” the work
(My Bed) was restored immediately, then nobody could say that: “this is a living art work
and we consider this contribution as a new level of the concept.” Let us remember the
motto: “With myself, always myself, never forgetting.” Apparently, a person who says
this would not agree to collaborate with the others.
What was the “contribution” or “intervention” of the Chinese artists to Tracey
Emin’s Bed? Yuan Chai and Jian Jun Xi jumped over the My Bed in the Tate Gallery, in
25 October 1999, this is the essence of their action, or with their own expression the art
performance titled Two Naked Men Jump into Tracey’s Bed. The visitors were shocked
during this action, and some of them even supposed that this is an official part of the
event. The Chinese men intended to have some “critical sex” over the bed of Tracey Emin
to complete the work, but they could not complete their performance entirely. Yuan Chai
stated that Emin’s work was a strong one, although handicapped by being “institutionalized.”
He said: “We want to push the idea further. Our action will make the public think
about what is good art or bad art. We didn’t have time to do a proper performance. I
thought I should touch the bed and smell the bed.” There were some words on his body
such as “Communism,” “Freedom,” “Idealism,” and “Internationalism” written in Chinese
and English. J. J. Xi said that Emin’s work was not interesting enough and they wanted
to explore further, making it more significant and sensational. The words on his body
were “Optimism,” “Idealism” and “Anarchism.” The gallery covered up this action and
neither the gallery nor the artist made another attempt to charge the Chinese artists.
So, there were two more names in Everyone T. Emin Slept With. Yuan Chai and
Jian Jun Xi, not at the same time, but at the same bed, took their place with a serious
intention to practice on/with her bed. So, why not include their names as well in a possible
reincarnation of The Tent? Neither the gallery nor the artist was willing to accept
this participation. The reason was intuitively expressed by Yuan Chai: institutionalization.
The institutionalization process, despite the opposite image, has continued as a
vulnerable point. In fact, it would be fairer to change the title of the work to Our Bed, as
it belonged to the Chinese artists as well. However, the more the narcissistic character
spread through, the stronger she would react to any other dissolution in the water of her
self-centered artistic production. Hence, the gallery just restored the installation, ignoring
the new contribution.
30 Ctrl+P September 2009