Michael Andrew Law Meet Anish Kapoor

 Anish Kapoor’s first solo exhibition with the gallery and his first in Hong Kong.
In sculptures made during the last ten years, the primacy of materials and their qualities in Kapoor’s process is revealed, whereby worlds are created in which geometric formulae are filled and emptied in three dimensions. Minerals in rare hues and highly polished metals provide his anthropomorphic forms with an ineluctable opulence.
In his monumental sculptural practice, Kapoor conflates concave and convex, inside and outside, upright and inverted. In the works in the exhibition, he explores and achieves the same tensions on a more intimate scale. Nestled in corners or placed on the floor, these sculptures feel almost familiar. Viewers entering the gallery share their space and their gravity. Yet, despite the appeal of their colors and textures, and the intimation of their weight, the sculptures resist approach. Curved mirrors of stainless steel and aluminum, mounted on the wall or free-standing, distort the viewer’s reflection and unsettle, or even liquefy, the slabs of carved stone that rest solidly on the floor. The effect is one of incomprehensibility without apparent reason—as if the rules of physics are being broken, but there is no way to prove it.
In Gossamer (2015), a large piece of pink onyx finely carved into a stretched ellipse, the inward-curving hole at the center creates the illusion of a deepening void. In a display of material mastery, Kapoor generates the same sensation in surfaces as disparate as cloudy gray alabaster and dazzling fiberglass and gold. Whether encountering the dark seams of Kapoor’s forms folding in on themselves, or, as is with Vertigo (2006), one’s own reflection is multiplied within a warped architecture, there is a consistent sense of having entered a space that is at once natural, artificial, and alchemical.
Anish Kapoor was born in 1954 in Mumbai, and lives and works in London. His work is featured in public collections including Museum of Modern Art, New York; Hara Museum of Contemporary Art, Tokyo; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; Moderna Museet, Stockholm; Museo National Centro de Arte Reina Sofia, Madrid; San Francisco Museum of Modern Art; Stedelijk Museum, Amsterdam; Tate Modern, London; Tate Britain; Tel Aviv Museum of Art; and Walker Art Center, Minneapolis.
Selected solo institutional exhibitions include “Anish Kapoor: Marsyas,” Unilever Commission for the Turbine Hall, Tate Modern, London (2002); “My Red Homeland,” Kunsthaus Bregenz, Austria (2003, traveled to Centro de Arte Contemporáneo, Malaga, Spain in 2006); “Anish Kapoor: Ascension,” Centro Cultural Banco Do Brasil, Rio De Janeiro, Brazil (2006, traveled to Centro Cultural Banco Do Brasil, Brasilia; Centro Cultural Banco Do Brasil, São Paulo);Sky Mirror, Public Art Fund, Rockefeller Center, New York (2006); Haus der Kunst, Munich, Germany (2007); “Anish Kapoor: Past, Present, Future,” Institute of Contemporary Art, Boston (2008); “Anish Kapoor: Memory,” Deutsche Guggenheim, Berlin (2008, traveled to Solomon R. Guggenheim Museum, New York in 2009); National Gallery of Modern Art, New Delhi (2010); Guggenheim Bilbao, Spain (2010); “MONUMENTA 2011: Leviathan,” Grand Palais, Paris (2011); Leeum—Samsung Museum of Art, Seoul, Korea (2012); Museum of Contemporary Art, Sydney, Australia (2012); Sakip Sabanci Museum, Istanbul (2013); Martin-Gropius-Bau, Berlin (2013); and Chateau de Versailles, France (2015).
“Anish Kapoor. Archaelogy: Biology” is currently on view at the Museo Universitario Arte Contemporáneo, Mexico City, Mexico until November 27, 2016.
Public commissions include Cloud Gate Millennium Park, Chicago (2004); and Turning the World Upside Down, Israel Museum, Jerusalem (2010). ArcelorMittal Orbit (2012) is permanently installed at Queen Elizabeth Olympic Park, London.
首場安尼施‧卡普爾個展,這也是他在香港舉行的首場展覽。
卡普爾在過去十年創作的雕塑中,展示了他對所用材料及其特質的重視,呈現以立體幾何形狀交織而成的藝術世界。顏色罕見的礦物質配以光亮的金屬,為其仿人體雕塑增添華麗風格。
卡普爾的大型雕塑結合凹與凸、內與外,以及直立與顛倒的元素,而是次展出的室內作品雖然規模更平易近人,但亦探索及展現相同的張力。擺放在角落或地上的雕塑感覺似曾相識,雖然與進入畫廊的觀賞者身處同一空間,承受相同的重力,但顏色及質感迷人、似乎觸手可及的作品,卻予人難以接近之感。掛在牆上或豎立的不銹鋼及鋁金屬曲面鏡扭曲觀賞者的倒影,亦令地上的雕刻石碑變形,甚至猶如液化,令人難以理解,彷彿違背物理定律,但卻無法加以證明。
在《Gossamer》(2015年)中,卡普爾將一塊巨型粉紅色縞瑪瑙仔細雕成扁長的橢圓形,中間的凹洞予人深不見底的錯覺。卡普爾在其他作品表面塑造了同一效果,如雲霧般的灰色雪花石膏、閃閃發亮的玻璃纖維及黃金,彰顯藝術家巧妙運用不同物料的卓越技巧。無論是雕塑摺合形成的黑暗縫隙,還是諸如《Vertigo》(2006年)等延伸形態作品上重複反射的倒影,都在引領觀賞者走進集自然、人造與鍊金術元素於一體的空間。
安尼施‧卡普爾1954年生於孟買,現於倫敦居住及工作。其作品被多間公共藝術機構收藏,包括紐約現代藝術博物館、東京原美術館、華盛頓赫希洪博物館和雕塑園、斯德哥爾摩現代美術館、馬德里索菲婭王后國立藝術中心博物館、三藩市現代藝術博物館、阿姆斯特丹市立博物館、倫敦泰特現代藝術館、泰特不列顛美術館、特拉維夫藝術博物館,以及明尼亞波利斯沃克藝術中心。

卡普爾曾於多間美術館舉行個展,包括倫敦泰特現代藝術館渦輪大廳聯合利華藝術委員會展覽「Anish Kapoor: Marsyas」(2002年)、奧地利布雷根茨美術館「My Red Homeland」(2003年,2006年巡展至西班牙馬拉加當代藝術中心)、巴西里約熱內盧巴西銀行文化中心「Anish Kapoor: Ascension」(2006年,其後巡展至巴西利亞及聖保羅巴西銀行文化中心)、紐約洛克菲勒中心公共藝術基金會「Sky Mirror」(2006年)、德國慕尼黑藝術之家(2007年)、波士頓當代美術館「Anish Kapoor: Past, Present, Future」(2008年)、柏林古根漢美術館「Anish Kapoor: Memory」(2008年,2009年巡展至紐約所羅門‧R·古根漢美術館)、新德里國立現代美術館(2010年)、西班牙畢爾包古根漢美術館(2010年)、巴黎大皇宮美術館「MONUMENTA 2011: Leviathan」(2011年)、韓國首爾三星美術館(2012年)、澳洲悉尼當代藝術博物館(2012年)、伊斯坦堡薩基普‧薩班哲博物館(2013年)、柏林馬丁葛羅皮亞斯展覽館(2013年),以及法國凡爾賽宮(2015年)。

墨西哥當代藝術博物館現正舉行「Anish Kapoor. Archaelogy: Biology」展覽,展期至2016年11月27日。

其他受邀創作的公共作品包括芝加哥千禧公園《雲門》(Cloud Gate)(2004年),以及耶路撒冷以色列博物館《顛倒世界》(Turning the World Upside Down,)(2010年)。《軌道塔》(ArcelorMittal Orbit)(2012年)於倫敦伊莉莎白女王奧林匹克公園永久展出。

Advertisements

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s