The irreverent Anish Kapoor
An artist who despite his Indian origin, residing in London, does not believe in ethnic origins, is a true citizen of the world, his works have matured from irreverence and anti-war theme to works in metallic sculptures with a serious study of light and textures. Join me in learning about the life and work of Anish Kapoor, one of Europe's most prominent and questioned artists.
Born in Bombay, India, son of Hindu father and Jewish mother, he spent his first years of life in India and then moved to England where he studied at Chelsea School of Arts and Design where he participated in different art contests which allowed them to develop their talent early in the sculpture, one of those competitions Art into landscape, in 1974, at the Serpentine Gallery in London, in which the critics already bet him as one of the new in British culture.
Thus, works like 1000 Names (1, 000 Names) emerged, which he would later exhibit at the Galerie Patrice Alexandre in Paris, in 1980, in his first solo exhibition. Years in which the artist experiments with various materials such as granite and marble adding pigments.
One success after another has happened to this artist Excélsior who has captivated different cities worldwide, on occasions his works have been sold before the opening of the exhibition, this particularity was notable at the Barbara Gladstone Gallery in New York, followed by recognitions such as the Duemila Award for Best Young Artist, for his participation in the 44th Venice Biennale in 1990, representing the United Kingdom, also won the prestigious Turner Award a year later.
Little by little he decided to give a new category to his pieces, more towards architecture or what is known in art as massive works of art, where the spectator can be part of the work or only by its size can be seen by hundreds of people in a moment and per day thousands of people become accustomed to observing passing by one of the sculptures of the artist.
He has exhibited in places such as the Tate Gallery or the Hayward Gallery in London, the Deutsche Guggenheim in Berlin, the Reina Sofia in Madrid, or the Kunsthalle in Basel, with this he managed to continue innovating until he could conceive one of his most emblematic works as At the Hub of Things, which is considered a masterpiece of the known as vacuums. At the same time, he made a series of sculptures in stone, is one of the most seen Adam (1988) all this in his eternal desire to represent ideas about space, part of his goals as an artistic director.
For Kapoor the important thing about a work is its contemplation by the spectator, and it must have no relation to its creation process or how it was made, the latter is one of the things that are usually asked by both spectators and art critics, but the reality is that Kapoor tries to show us signs and things through his works, so don't worry about their incredible forms or how they were built.
It is in the 1990s that Kapoor's need to drastically increase the size of his sculptures really arises and he changes materials in the same way. But it was not until 2002 that Marsyas, created for the Tate Modern in London for the Unilever series of the Sala de las Turbines, came into being. It plays with the visibility of the human, an excellent work of scale. A work inspired by Greek mythology.
His first great public work is done in the United States. The titled door of the clouds it is installed in the Millenium Park of Chicago, created with plates of stainless steel, extremely polished they work as a mirror distortionador of the panorama in which of unfolds the work.
Once this has happened, he makes another creation titled mirror of the sky, this one located in the Rockefeller Center of Manhattan and it was inaugurated in 2006, where again he plays with the scale and the vision of the spectator who can visualize the sky and at the same time see himself reflected.
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