中文
Galleria Continua
San Gimignano
Beijing
Les Moulins
Habana
Roma

Viewing Room

XXL ONLINE

ANISH KAPOOR PRESENTS "DESCENSION"



Anish Kapoor is widely accepted as one of the most influential and recognizable sculptors of today. His works not only succeed in installing a kind of democratic engagement in their public manifestations but they also question some of the fundamental notions that man ponders.


“Descension", exhibited in 2015 in Anish Kapoor’s solo show at Galleria Continua / San Gimignano, is a continuation of the work “Descent into limbo”, a cube building with a dark hole in the floor, first exhibited at Documenta IX in Kassel. “Descent into limbo” drags the viewer down into it, curious to discover the depth of the void before him yet fearful of what it may hold. “Descension” destabilizes, it undermines our perception of the earth as a solid element, and confirms Kapoor’s interest in non-objects and self-generated forms. A perpetual force, a thrust downwards, towards a totally unknowable interior. 

The work is a result of Anish Kapoor’s long-term preoccupation with void spaces and the notion that there is more space than what can be seen. It provides scope for mythological recall, bringing into discussion cultural and societal figures like Plato, who presented the study of the cave, the shadows on the wall of the cave the only reality for its inhabitants, the Freudian opposite image, the transformation of an idea into its opposite, and Dante’s adventure into the void, or hell, which paradoxically is full, of fear and darkness. 

Dealing with this void, Kapoor created a negative form that although by definition, lacking, creates something which is separate from its physical existence as an object. An ever-changing process, an autonomous whirling water body which continually falls into itself manages to make people gather around it, hypnotized by its movement and by a shared moment with others even with no seemingly visible or audible communication. There is a sense that the viewer is taking part in something. This dichotomy of creation yet emptyness upholds Kapoor’s belief that a void object is not an empty object. It holds endless potential for generative possibility. 

“Descension” evokes an enigmatic “dark material”, something that we all primitively recognize, and causes a shared voyage to what is beyond the sensible, beyond the believable, beyond the workable and representable. A feeling of curiosity yet fear is tangible in the experience of the work and echoes the unintuitive, that is the descent, downwards and inwards, to the back of the cave, to what is unseen. The place that Kapoor sees as the “place of the object after psychoanalysis”, an object that is in between being and non-being, an object that depicts the inevitable – that most of the matter in the universe is dark and that it is an autonomous force of nature, a geometric object made of water.


Lorenzo Fiaschi, co-founder of Galleria Continua, talks about working with Anish Kapoor. 




Descension

2015

Steel, water, motor

500 x 500 cm

196,8 x 196,8 inch

unique work


View: “Rituals of Signs and Metamorphosis”, 3 November 2018 - 7 April 2019,

Red Brick Art Museum, Beijing. Photo by Xing Yu and Yang Li


Exhibition view “Anish Kapoor”, Galleria Continua, Cuba, 2016


Descent into Limbo, Havana

2016

concrete, iron and pigment

Ø 3 m

Ø 118,1 inch

unique work


When I am Pregnant

1992-2016

Fibreglass, wood and paint

600 x 600 x 150 cm

236,2 x 236,2 x 59 inch

unique work

Monochrome (Majik Blue)

2016

Fibreglass and paint

188 x 188 x 40 cm

74 x 74 x 15,7 inch

unique work

Mirror (Black Mist to Pagan Gold)

2019

stainless steel and lacquer

119 x 119 x 14 cm

46,85 x 46,85 x 5,51 inch

unique work


Untitled

2015

silicone and pigment

113 x 134 x 20 cm

44,49 x 52,76 x 7,87 in

unique work


Though rarely exhibited until recently, painting has been an integral part of Kapoor’s pursuit for the last 40 years. Far from an anomaly, Kapoor’s works on canvas relate closely to his sculpture, both in their oscillation between two and three dimensions as well as their shared existence at the threshold between form and formlessness. This formlessness is at its most visceral and abject here in a series of relief works. The thin gauze stretched across their surface, barely containing the interior that presses against it. Their surface, seeped in the blooming impressions of red and black paint, signals the turbulence and chaos of a state of immanent breach beneath. Alongside these are radical new gestural paintings; on the edge of figuration, they seem to depict swollen and fecund organs that ooze and leak from their dark interiors.

Untitled

2015

Alabaster

131 x 74 x 35 cm

51,6 x 29,1 x 13,8 inch

unique work

In his sculptures in alabaster, Kapoor has carefully carved out a highly refined section. They invite the spectator to reflect upon the concept of the infinite and the mysteries of time buried within their form and substance. One of the most distinctive aspects of these works is the sense of eternity they convey. Thanks to the translucent qualities of the material the artist manages to reinforce the sense of the transition from painting to sculpture and from painting to aerial dissolution and through to becoming light. The intense red of some of these sculptures, as of other works in the show, is suggestive of something organic.

Monochrome (Yellow)

2014

Fibreglass and paint

121 x 121 x 84 cm

47,64 x 47,64 x 33,07 inch

unique work