Anish Kapoor, Lisson Gallery, London
Tuesday 09 October 2012
Is there something new from Kapoor amongst this multitude of new scuptural works spread across the various gallery spaces of two entire buildings? Not much. We can divide these work into the rough and the smooth.
The rough works, all violent, grey, earthquake-like ructions of one kind or another, are principally fashioned from pilings and heapings and bunchings and globbings of cement, worked by hand into explosions of orifice-like flowerets into which you can stare and stare if you so wish – oh, how Kapoor does love his voids!
Some adhere to the wall as if by some miracle of suspension; another, with a skin that looks positively elephantine, hangs in the air like a just-about-to-descend meteorite or a sculpture by the late Franz West; a third rises, leaning and lurching, from a crude, workaday plinth.
Their hand-wrenched, hand-wrested surfaces look like an aggressive riposte to the charge that Kapoor often seems to be too wedded to a kind of seamless smoothness. Are these snatchings from ancient geological landscapes? Are they riffs upon the idea of the honeycomb? A bit of one and the other.
Elsewhere, a series of earth-coloured sculptures on table tops seem to mimic re-shapings of the surface of the earth, blown into heaps, shaped into dunes or rearing up into nodes. Earth is a component of all these works, and it is the shiftings and the perpetual re-fashionings of the earth's surface that this group of works is exploring.
Elsewhere, slightly different things are happening. In one room, his ever first ready-made is on view, a piece called 'Organ' which consists of a huge grey diesel engine, with the kind of components you might expect from a diesel engine: fuel tanks, pumps, etc. What is this all about?
Is it a portrait of man the machine, complete with beating heart and exo-skeleton? For all its size, the emotional resonance is tiny. And in another space, there is what you might describe as a room-size installation - a circle of light projected down onto the surface of a concrete floor accompanied by a juddery, low-toned anxiety-inducing note.
Flitting elsewhere again, an entire series of wall-suspended, concave fibreglass hemispheres or bowls – they seem to be afloat against the wall - all highly coloured aquamarine, purple, yellow etc., catches us back to Kapoor the smooth manipulator of surfaces which seem to be playing tricks on us even as we look at them – concave or convex? What form is he playing with this time? So many, all at once.
There’s revolution in the air, but one lady’s not for turningTV
Arts & Ents blogs
- 1 Hilary Mantel 'should be investigated by police' over Margaret Thatcher assassination story, says Lord Bell
- 2 Rihanna 'nude pictures' claims emerge on 4Chan as hacking scandal continues
- 3 Kim Kardashian 'nude photos' leaked on 4chan weeks after Jennifer Lawrence scandal
- 4 'F*ck it, I quit': KTVA reporter Charlo Greene quits live on air in spectacular fashion
- 5 Hitler’s former food taster reveals the horrors of the Wolf’s Lair
Downton Abbey fans unimpressed by Kindle sponsorship adverts
Thomas Heatherwick creates gin palace with a fantastical Willy Wonka vibe
Cilla, episode 2, ITV, review: Sheridan Smith continues to shine
Free U2 album: How the most generous giveaway in music history turned PR disaster
The Lion King becomes biggest grossing musical ever
Scotland could still declare independence – even without referendum, says Alex Salmond
Scottish referendum results: Cross-party consensus collapses amid Tory-Labour spat on the 'English question'
Hilary Mantel 'should be investigated by police' over Margaret Thatcher assassination story, says Lord Bell
Scottish independence: David Cameron is becoming the 'George Bush of Britain'
Plebgate MP Andrew Mitchell called officer a 'little s**t', claim court documents 'exposing ex-Chief Whip's 'record of abusing police'
Archbishop of Canterbury admits doubts about existence of God