阿尼什•卡普尔
アニッシュ·カプーア
Аниш Капур

temenos

source: telegraphcouk

The mammoth structure designed by the sculptor Anish Kapoor was officially unveiled yesterday on the windswept docks of Middlesbrough.
Temenos, meaning sacred ground in Greek, at 164 feet high towers above Britain’s most famous tall sculpture, the Angel of the North, Anthony Gormley’s winged statue in Gateshead, about 40 miles down the road. That stands a mere 65 feet off the ground.
Two steel rings pull a delicate mesh of steel cables, which are suspended above the dockside, dominating the post-industrial landscape. The structure was hailed by locals as a spectacular success and a key to regenerating the area, which has been blighted by job losses. Some privately grumbled, however, that it was a waste of £2.7 million, much of it public money.
Richard Buckley, the director of Tees Valley Regeneration, who commissioned the piece, said: “Not everyone was convinced by the Angel of the North, but now most people in the north east love it. When they see it, they think “I’m home”. And I hope we have created something akin to that here – a work of art with which people can really identify with and which will become part of the Tees Valley landscape.”
He said that the local reaction had been mixed. “Some people love it, some are undecided and some think it’s a waste of money. But that is what art does – it divides opinion.”
Related Articles
Temenos: an appreciation 11 Jun 2010
While Temenos is the current largest sculpture, by volume, it is part of a trend for supersized public works of art. It could soon be matched by the White Horse, the proposed Mark Wallinger sculpture for Ebbsfleet in Kent. It will also be dwarfed by Kapoor’s own vision for the Olympic park in East London. The ArcelorMittal Orbit at more than 300 feet high will be taller than the Statue of Liberty
Kapoor said the scale of Temenos was needed. “The landscape here is full of huge objects. The transporter bridge, the Middlehaven crane, two great container ships moored here. We wanted something that would fit in.”
He said he hoped that the work would help draw visitors back to the area. “The work is ephemeral and mysterious. But you have to walk up to it, around it and underneath it to appreciate it.”
Kapoor, originally from India, made his name with curved, tactile pieces often with reflective surfaces. He has increasingly been working on ever larger designs.
The work, which was built by Kapoor’s long-term collaborator the structural engineer Cecil Balmond, is funded by a mixture of private and public money. The Arts Council England and The Homes and Communities Agency put up much of it, while private developers and Middlesbrough football club, which is just quarter of a mile of away. The sculpture’s title, which translates from the Greek as ‘sacred ground’ is a nod to the acre of turf at the Riverside stadium.
Middlesbrough’s elected mayor, Ray Mallon, who chaired the handover ceremony, said: “We have our challenges here, but we are lean, mean and fit, and our motto is: ‘If you build it, people will come’.”
“Anish and Cecil didn’t have to come here, but we’re proud that they did. Their art is different, of course, but I am sure that in 300 years time, people will talk about them in the way that we talk about Rembrandt nowadays.”
Alison Clark-Jenkins, the director of the Arts Council in the north-east, said: “Visionary art like this brings together private and public sector partners. The north-east’s track record in commissioning has become recognised internationally in the last 20 years.”
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source: guardiancouk

The vaulting cultural ambitions of five modestly sized northern councils were realised today – spectacularly – with the handover of a huge but delicate sculpture by Anish Kapoor.

The gently twisted take on a vast butterfly net is the first of five interlinked giants of Teesside which will lay claim, on completion in the next decade, to being the biggest public artwork in the world.

Commissioned from Kapoor and his engineering collaborator Cecil Balmond, who are also designing London’s Olympic tower, the structures will complement earlier landmarks created on an heroic scale by industrialists along the river.

“Look at them,” said Kapoor, sweeping his arm over the view from Middlesbrough football club’s Riverside stadium. “The transporter bridge, the Middlehaven crane, two great container ships moored here. We have had to think in those sorts of terms.”

The first £2.7m sculpture, Temenos, “opens” just a week after Teesside shipped out one of the largest pieces of engineering ever made locally: a seabed pipelaying system for South Korea which is bigger than the Tyne bridge. Middlesbrough’s mayor, Ray Mallon, said: “We have our challenges here, but we are lean, mean and fit, and our motto is: ‘If you build it, people will come’.”

That has proved true for a pioneering drive to improve the grubby legacy ironstone, mining and early chemical works with artworks such as Claes Oldenburg’s Bottle of Notes, a jumbo-sized tribute to explorer Captain Cook, that was commissioned by Middlesbrough in 1990.

Its success as a visitor draw emboldened Gateshead – another middle-range council, overshadowed by its bigger neighbour Newcastle-upon-Tyne – to go ahead in 1994 with Antony Gormley’s Angel of the North.

Middlesbrough meanwhile went ahead with Mima, the Middlesbrough Institute of Modern Art, modelled on San Francisco’s SF-Moma and Macba in Barcelona.

“There were people who were cautious or had doubts,” said Mallon. “But a town like ours succeeds when people are proud of it, and our arts programme is an expression of that pride.

“Anish and Cecil didn’t have to come here, but we’re proud that they did. I am sure that in 300 years time, people will talk about them in the way that we talk about Rembrandt nowadays.”

Kapoor and Balmond said the structure was on the edge of technology; the net alone involved 64 separate points of longitude and 49 different curves, all of which altered as tension was applied. Wind movement on the tallest, 53-metre pole meant the metal had to be punctured with holes, and other adjustments were “like tuning a large and complicated piano”.

Temenos is Greek for a sacred piece of ground – complementing, Kapoor said, the locally worshipped turf of the nearby football club. The net has evoked comparisons with Middlesbrough FC’s goalmouths, and suggestions that on special occasions one of the club’s stars could try to punt a football through it.

Both Kapoor and Balmond paid tribute to engineers and steel erectors from Balfour Beatty, saying: “Every buckle and clip is a work of art in itself.” The firm’s regional director, Phil Morgan, said: “It has been a unique challenge. You can’t see some of the most important parts, such as the 24-metre piling foundations.” Engineers who worked like spiders to attach the mesh high above Middlehaven dock are also long gone.

Teesside’s art boom has seen David Mach’s Brick Train in Darlington, and sculptures in Hartlepool, Cleveland and Redcar and Stockton-on-Tees. The joint regeneration agency Tees Valley Unlimited (TVU) said more economic development has accompanied the commissions than originally hoped.

Temenos stands in an area formerly known for its use of derelict industrial and dockside sites by sex workers. Richard Buckley, the director of delivery for TVU, said £500m in private and public funding had gone into offices, housing and a college building.

Bob Lane, of the national Homes and Communities Agency, said: “I will go back to my board and tell them that the £39m we have put into the area has been money well spent.”

Such endorsements are crucial to raising £12.3m for the next four sculptures which Kapoor and Balmond have started to sketch out in their studios and for which sites have been earmarked.

Alison Clark-Jenkins, the director of the Arts Council in the north-east, said: “Visionary art like this brings together private and public sector partners. The north-east’s track record in commissioning has become recognised internationally in the last 20 years.”

A related exhibition of items chosen by Kapoor from his own collection, each relating to Temenos, is at Mima until August.
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source: ilpostit

È stato inaugurato a Middlesbrough, nel nord-est dell’Inghilterra, il gigantesco retino da farfalle creato da Anish Kapoor, l’artista inglese di origine indiana di cui si è parlato molto in queste settimane per il suo grande progetto di torre per le olimpiadi londinesi del 2012.

La struttura è costata 2,7 milioni di sterline e nei prossimi anni sarà collegata ad altre quattro sculture che insieme formeranno l’opera d’arte più grande del mondo. Kapoor ha detto che montarla è stato come accordare un pianoforte gigante e complicato: la rete traccia 49 curve di ampiezze diverse, distribuite su 64 diversi punti longitudinali.

Il Guardian ha notato la somiglianza dell’opera con un’enorme porta da calcio, suggerendo che qualche giocatore del vicino stadio di Middlesbrough potrebbe anche provare a usarla davvero durante una partita. Il nome, Temenos, è una parola greca con cui si indicava un luogo sacro e il suo spazio circostante.
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source: vk

Посещал The Doon School в Dehra Dun. Переехал в Англию в 1972, где проживает с тех пор. Изучал искусство в Hornsey College of Art и в Chelsea School of Art Design. Аниш Капур работает в Лондоне, хотя часто посещает Индию.
Творчество
В начале 1980-х Капур стал известен как один из членов группы «Новая британская скульптура». Произведения скульптора как правило просты, имеют изогнутые линии, монохромны и ярко окрашены. Ранние работы часто были покрыты пигментом, который покрывал работу и пол вокруг нее. Порой работы Аниша Капура имеют зеркальную поверхность, отражающую и искажающую зрителя и окружение. С конца 1990-х Капур создал ряд масштабных работ, включая Taratantara (1999), 35-метровое произведение, установленное в Baltic Flour Mills в Гейтсхеде, Англия и Марсий (2002), большая работа из стали и поливинила в Турбинном зале Галереи Тейт-Модерн. В 2000, одна из работ Капура Параболические воды, состоящая из вращающейся окрашенной воды, была показана в Лондоне. В 2001 Зеркало неба, большое зеркальное произведение, которое отражало небо и окружающее пространство, было установлено в Ноттингеме. В 2004 Врата облаков, 110-тонная стальная скульптура, торжественно открыта в парке «Миллениум» в Чикаго. Осенью 2006, другая зеркальная скульптура, также названная Зеркало неба, была показана в Рокфеллеровском центре в Нью-Йорке.
Признание
Капур представлял Великобританию на Венецианской биеннале в 1990, где ему была присуждена Premio Duemila; в следующем году он стал лауреатом Премии Тернера. Персональные выставки работ скульптора проходили в Галерее Тейт и Hayward Gallery в Лондоне, Kunsthalle Basel в Швейцарии, Национальном художественном музее королевы Софии в Мадриде, Национальной галерее в Оттаве, Музее современного искусства в Бельгии, CAPC Museum of Contemporary Art в Бордо и Centro Cultural Banco do Brasil в Бразилии. Его работы представлены в музеях всего мира, в том числе в Музее современного искусства в Нью-Йорке, Тейт-Модерн в Лондоне, Fondazione Prada в Милане, в Музее Гугенхейма в Бильбао, De Pont Foundation в Голландии и 21st Century Museum of Contemporary Art в Японии.
Орден Британской империи (2003).
Интересные факты
Скульптура Аниша Капура Марсий вдохновила Арво Пярта на создание симфонии № 4 «Лос-Анджелес» (2008), посвященной Михаилу Ходорковскому.
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source: nodisparenalartistawordpress

Anish Kapoor se define como una persona apasionada, y es que sólo una persona apasionada es capaz de crear este tipo de esculturas en las que podemos ver claramente las influencias de la cultura hindú y la hebrea.

Kapoor nació en Bombay (1954), pero reside en Londres desde 1973, de padre hindú y madre judía iraquí, esta diversidad de culturas creará una formación cultural extensa y abierta, la influencia de la cultura hindú y hebrea son fundamentales en su trabajo. Kapoor pertenece a la llamada generación de la Nueva Escultura Británica a la que pertenecen otros artistas como Richard Deacon,Tony Cragg etc.

En un primer momento sus esculturas eran más pequeñas y quizás podamos decir que estaban más cercanas a un arte de estilo minimalista, sin embargo con el tiempo fue derivando en un arte más conceptual, un ejemplo de este arte más conceptual es su obra titulada Ascensión, que fue realizada en 2003, el artista creó una base en el crucero de la basílica de san Giorgio Maggiore en Venecia, que debía liberar una espiral de humo que asciende hasta la cúpula. Otro de los cambios fundamentales que podemos observar en este artista a lo largo de los últimos años de su carrera es su cambio de escala. Para muchos sus dimensiones han ido creciendo y sobre todo los críticos citan una fecha clave, que es la exposición de la Tate Gallery en el año 2002 que es cuando Kapoor comienza a colaborar con el ingeniero Arup Cecil Balmond.

Uno de los elementos fundamentales en las esculturas de este artista son los colores, el color en Kapoor funciona como una escultura en sí misma, utiliza siempre colores primarios, azules , rojos y amarillos brillantes que nos transportan al Dol Purnima, o el festival del color Hindú donde los asistentes se lanzan colores en polvo o diluidos en agua. Por ejemplo en obras como Svayambh, se unen el color rojo y la escala monumental, esta obra es un vagón de tren de cerca de ocho metros de longitud y tres metros y medio de altura que iba atravesando muy lentamente diferentes estancias, manchando de rojo (color que refleja el interior, lo espiritual) puertas y suelos de las cinco salas de la Royal Academy.

En sus obra existen varias cuestiones fundamentales a parte del color, y es que sus esculturas exploran la idea de vacío, esta idea de vacío, o de cómo ocupar el espacio se ejemplifica muy bien con su obra Disparos en el rincón, en esta instalación el artista sitúa un cañón en una esquina que cada cierto tiempo dispara proyectiles de cera roja de casi diez kilos, propulsados contra un rincón a una velocidad de ochenta kilómetros por hora. De esta manera el espacio entre la esquina donde está situado el cañón y el rincón donde se estampa con furia el proyectil es ocupado al menos por un instante. En ocasiones sus esculturas también distorsionan las formas y es que utiliza el acero en algunas de sus instalaciones de forma que el acero funciona como material reflectante que hace que el color o la forma se conviertan en algo prácticamente invisible.

Una de sus esculturas más famosas de arte público es la Cloud Gate (2004-2006), que mide 22 metros de largo y doce de altura de acero que refleja el increíble paisaje del parque donde está situada y además refleja también a aquellos que se acercan, de esta forma los ciudadanos y el paisaje pasan a formar parte activa de la obra.

En cuanto a los temas más frecuentes es fundamental en su obra las tensiones entre opuestos, es decir los temas de la presencia o ausencia, la materialidad frente a lo espiritual, lo masculino frente a lo femenino, en ocasiones utiliza la abstracción para buscar o indagar sobre el principio de las cosas.

La última de sus obras es Arcelor Mittal Orbit para el parque olímpico de los JJOO de Londres 2012. Es una enorme torre roja que mide 115 metros de alto. Si en algo ha sido fiel Kapoor a lo largo de estos años y de la evolución de su trabajo es sobre todo al uso de los materiales, crea siempre sus obras con materiales industriales como el cemento, el acero, y sobre todo la cera, las resinas y los pigmentos.

En algún lugar leí una definición de Anish Kapoor como un devorador de espacios y es que con sus cañones, trompetas, vagones consigue cambiar la percepción del espacio, consigue devorarlo todo como si de un leviatán monstruoso de tratase.
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source: summervoyagepixnetnet

皇家藝術學院今年破天窗地開辦了 Anish Kapoor 的個人展，雖然 Kapoor 具有如日中天的聲望，然而皇家學院從未舉辦過在世藝術家的個人展。1988 年的 Henry Moore，原本有希望得到此一殊榮，卻被命運捉弄，在他的個展開幕前便過世了。也因此，這場展覽從上半年宣布開始，就讓眾人引頸期盼。

Anish Kapoor 多元文化的背景，不但是他創作的動力，也是眾人津津樂道的話題。出生於印度的他，有一個印度父親和猶太母親，雖然住在印度，卻是在深受西方文化的孟買長大。十幾歲的他，在倫敦接受藝術領域的訓練，不僅給了他技法，也給了他新的視角。當他在七零年代末期重回家鄉印度，這場旅程啟發他創作的契機，家鄉的廟宇，信仰，與平民文化，都帶給他強烈的衝擊。在僧侶院外和市集上，時常看到小販販賣著塊狀色料，這些是妝點女人臉龐的顏料，也廣泛運用於宗教儀式中。鮮艷的顏色，成為他後來作品中必備的元素。他在 1979 -81 年間，創作了一系列以「1000 Names」為題的作品，是他的註冊商標之一，運用幾何立體物件，將它們層層裹裹用鮮艷純色所覆蓋，並在周圍留下一圈漸層的光暈，粉末的質地柔和了有稜有角的輪廓。這些雕塑創造了一個異世界的奇妙風景。而他當時在 Hayward Gallery 針對年輕雕塑家的展覽中，也成功地獲得眾人的注意。九零年代，他更執著於探討負空間，結合建築與有機概念，在他的創作下，牆與地面都有不同的觀看角度，空間的各種隱喻也不斷地被他試探著。在三十歲以前，他拿到了英國榮譽勳章 (CBE)，是 Turner Prize 的贏家，還代表英國參加了巴黎和威尼斯的雙年展。

而他在2000年以來，以鏡面和鋼材會材質的大型雕塑，則是他另一個賴以成名的關鍵。不同的曲度，不同的映像，相同的是改變了視角。探索空間，運用顏色與弧度，將靜止化為動態，比如他著名的 Cloud Gate，自 2004 年起便在芝加哥吸引了千萬人潮，被暱稱為「豆子 The Bean」。2006 年展在紐約洛克斐勒廣場前的 Sky Mirror，將「天與地」的二元改變了對立的位置，在現代都市中盛起一碗鏡花水月。

就像這次展覽的第一件作品，Tall Tree and the Eye，七十六個直徑一公尺的不鏽鋼球，堆疊成現代巴比倫塔，是天梯，是孩子口中的泡泡糖，是節慶的聖誕樹，也是一面又一面映射觀者與場域的哈哈鏡。Kapoor 一系列的 Non-objects，不斷地運用金屬形狀影響映射結果為主題，各式各樣、不同顏色的不鏽鋼，都被完美地製造、擦拭，原本堅硬冷調的金屬，在他的手下，隨著周遭景物的變換，呈現宛如絲緞般柔軟、如湖面般純淨的效果。

不可否認地，Kapoor 有自己的風格，而他的風格裡有著濃厚的娛樂性。在這次展出中，最引人注目的便是 Shooting Into the Corner。厚重的加農炮旁堆疊著一桶桶重達十到十一公斤的濃稠紅蠟塊，每二十分鐘，發出驚人巨響地將紅蠟射擊而出，穿過皇家藝術學院優雅古典的白牆和拱門，直入後面房間的牆面，再沉沉落下。這些「炮火」在展期中不斷累積，一次次發射過程中的噴發將顏料漸次潑漸在地板與牆面。這是殘酷與血腥交融的高潮與喜悅，是慶典也是屠殺的響鐘。然而，在引起眾人喧囂喝采的同時，隨著顏料射擊後的落地，一切也似乎隨之消失。驚呼的漣漪散去後，只留下一陣茫然。如同他其他的作品，在引人震驚之餘，卻沒有什麼令人回味。

Anish Kapoor 一向不喜歡對他的作品或對他身為藝術家的地位多做詮釋。不過，在訪談中，Kapoor 表示，這件作品除了表面上的戰爭意象，更代表了人對表達自身定位、在「存在」中不或避免地留下種種印刻記號，都是一種 aggressive 的態度。同時，佛洛依德與性衝突也是作品中的意涵之一，武力的強暴，對「角落 Corner 」的強暴，對感官的強暴，都同時存在在一聲聲砲響中。

性比喻一直是 Kapoor 作品中熟悉的主題，而這在他近年的大型裝置中，更是強烈。甚至有記者曾表示 Kapoor 對陰道有無法拋下的迷戀與執著。不管是在 Brighton Festival 2009 有展出的 Blood Relations，Dismemberment of Jeanne D’arc, 還是此次展出的 Hive 和 Slug，其女性肢體的轉化比喻隨處可見。站在 Hive 前，不管是材質和形狀都不陌生，和他在古根漢美術館展出的 Memory 是同樣質地，牽牛花喇叭狀的外形也是他作品中常常出現的輪廓，他2002 年在泰德美館館現代館的 Turbine Hall 展出的巨大裝置 Marsyas 也是喇叭狀。站在 Hive 的正面開口前，觀者所看到的，不只是女性陰部的特寫，更似乎感受到深處所激發的巨大引力。然而性比喻的重覆性，和素材的重覆性一樣，成為一首旋律和頻率都單調的曲子，在視網膜停留後，卻難以烙印在心底。

此次展出中，除了 Shooting Into the Corner 是眾所矚目的焦點，吸引眾多人圍觀的，還有被暱稱為 The Train 的 Svayambh，佔領了 Royal Academy 的五個展室。在純白古典的空間裡，巨大的紅色蠟泥緩慢地一步步推進，它遲緩而穩定地通藝術學院的拱門，讓拱門的形狀雕塑它，也用它身上的顏料重新型塑拱門。這樣的互動性，就像 Kapoor 的 Non-object，強調著作品的定義要靠觀者與環境來完成。Svayambh 和 Shooting Into the Corner 正好是一個對比：寂靜與喧鬧，緩慢與爆發，持續與剎那，碰撞與穿越。然而強調作品的比例、運用鮮紅色的色料，已經是 Anish Kapoor 給人的第一印象。而在展場漫步間，藝術圈中流傳已久的玩笑不斷反覆出現在耳邊。「如果你在藝術圈想成功，就是 Make it big, make it red。」簡簡單單的六個英文字，一語道破許多作品的價值與市場行銷。二十年來， Anish Kapoor 不但立行此六字箴言，更加了新解：「Not only make it big and red, but also make it move and make some noise.」這鞭辟入裡地道盡 Kapoor 的賣點。

相較之下，和其他作品最不同的，就是Greyman Cries, Shaman Dies, Billowing Smoke, Beauty Evoke。如同絕句一般充滿詩意的標題，展示的是一個擠滿了灰泥如腸道纏繞糾結的房間。數十件作品擁擠得排列，讓人連行走都困難 ; 而空氣中似乎也飄浮著大量的灰粒，挾同視覺一起堵塞我們的感官。結合電腦輔助，一個個灰色腸管堆疊成各式雕像，在自己的重量下，有時爆裂碎落扭曲變形。雖然是抽象的形體，卻在材料與數量的運用下，似乎正隱秘地呼吸低語著。有趣的是，許多對此次展覽評語不佳的藝評人，對這個作品的評價卻甚高。

Kapoor 是位多產藝術家，然而其作品不管是主題、素材、形式的展現方式，不是重覆性過高，反而讓人有習作之感，或者總是過度的虛浮矯飾、裝腔作勢，極盡渲染之能事，反而讓人充滿虛有其表、華而不實的麻木，看久之後，只是感覺其誇誇其談，雖然似乎能噓枯吹生、舌燦蓮花，然而在取悅了感官之餘，徒留虛無。

我也去看了這次的展覽，我同意並沒有預期中的好。但是我認為藝術家在作品，皆代表著創作的過程。他學習探索的過程反而事令人覺得有趣的地方，習作也沒有錯。“度的虛浮矯飾、裝腔作勢，極盡渲染之能事，反而讓人充滿虛有其表、華而不實的麻木，看久之後，只是感覺其誇誇其談，雖然似乎能噓枯吹生、舌燦蓮花，然而在取悅了感官之餘，徒留虛無。 “我認為你的結論似乎下的太重。
我總是對已經頗具名聲地位的藝術家有更嚴格的要求罷!! 許多他的作品，在震撼之後，容人細細推敲的深度不夠，無法和作品的「衝擊性」相平衡，讓我惋惜!! 謝謝你的意見，希望有機會能多交流喔!!