In the context of contemporary art paradigms, CHESS emerges as a paradigmatic anomaly – an artifact embodying the polarity of sensory experience and abstract conceptuality. It is a semiotic event that blurs the lines between the sensual and the conceptual, aligning itself with the lineage of Duchamp’s subversive ready-mades.
The conceptual thesis of CHESS lies in its manifestation as an art object that deliberately eludes the categorization and function of a perfume. This is not merely a legal nuance but represents a provocation that challenges the accustomed categories and functions of objects – a challenge to the norms and expectations placed on a scent. This thesis becomes antithesis through the scent itself, which, though not classified as a perfume, still possesses the sensual qualities and allure of one. It is seductive, compelling, and invites use, standing in direct opposition to the work’s conceptual orientation. This tension between what CHESS ‘is’ and ‘is not’ forms the crux of its dialectical subversion.
The physical form of the bottle, modeled after a chess queen and crafted from black glass with a transparent lid, articulates a visual allegory that intertwines the playful element of chess with the strategic complexity of art. It is an embodiment of the ‘objective spirit,’ setting materiality and conceptualism in a dynamic tension.
In this constellation, CHESS becomes a critical interrogative that beckons recipients not only to sensual but also to cognitive and dialectical engagement. It is a commentary on the constitution of art and the role of the subject in aesthetic discourse. With CHESS, the audience is invited to become active participants in an ongoing negotiation of the meanings and boundaries of what can be understood as art.
(ChatGPT in the style of Slavoj Žižek)