Standing nearly twice as tall as the Olympic Stadium, the crazed and twisted steelwork of the ArcelorMittal Orbit tower is an undeniably impressive piece of engineering. Consider that it was bolted together by just three men, and its loops and spirals seem more imponderable than ever.
Rob Hastings meets the men charged with constructing the gravity-defying backdrop to next summer's Olympics
Tonight ballet's enfant terrible returns to Tate Modern's Turbine Hall with a new work. Laura McLean-Ferris can't wait
The Australian experimental composer Ben Frost is in London to meet his mentor Brian Eno, ahead of their joint project at the Reykjavik Festival in Iceland this weekend.
It's the perfect antidote to all that yuletide harmony – the <i>IoS</i> index of the year's insufferably self-satisfied
Britain is awash with large commercial buildings whose façades have been tarted up with supposedly creative gubbins because planners encourage the so-called Per Cent For Art approach. We're not talking Anish Kapoor. Nine times out of ten, that 1 per cent of building cost pays for witless "artistic" glass fins projecting from façades.
Kapoor's monumental success is matched by the scale of his ambition. Not bad for an artist who thought he'd end up 'a bloody art school teacher'
Anish Kapoor has fallen victim to the artistic scourge that is health and safety while working on his large-scale work for London's Olympic stadium. Nervous officials have forced the artist to add a high mesh to the pedestrian walkway which winds its way up the 120m ArcelorMittal Orbit tower, both to prevent visitors from falling off and from throwing objects at the crowd below. "It's way over the top, irritatingly over the top, but that's life," says Kapoor. "You have to, kicking and screaming, find a way to negotiate those things. They are really hard work – you either cave in or you say, 'I want to do it that way, we'll have to find a way to make it work.' I'm a horrible fighter." Further afield, the sculptor is preparing to open his first exhibitions in his native India – one at the National Museum in Delhi and another in a spectacular Bollywood film studio in Mumbai – and is working on a plan to fill Paris' Grand Palais (the French equivalent of Tate Modern's Turbine Hall commission) in 2011. Details are still top secret but the work will involve inflatables. "It's playing an architectural game, reversing what's inside and outside the building," he adds.
Just when you thought Dover Street Market, the fashion emporium created by Rei Kawakubo of Comme des Garçons, couldn't get any cooler, they go and build a pop-up store at London's St Martins Lane Hotel, home to the A-list hang-out Bungalow 8. Well, 'tis the season: there are pre-Christmas pop-ups everywhere, but not many offer such a range of fashion-forward festive treats. The six storeys of the shop have been edited into a slick capsule, including CDG diffusion lines Play and Shirt, as well as the store's own new label. Open now, until 8 January. Harriet Walker
Tate Modern's gloomy new installation reflects the spirit of the times, artist says
The silliest work in the Anish Kapoor exhibition is a kind of shooting range. A cannon is aimed through one of the Royal Academy's ornate doorways. (The public are safely held back.) Every 20 minutes, an operator loads it with a bucketful of deep red gunk. It fires. The gunk hits the wall through the doorway, dribbles down, piling up at the bottom, with much spatter. This will accumulate over the next three months.
He is both loved by the public and respected by his peers, and soon the Royal Academy will host a huge retrospective by one of the most distinctive artists in its prestigious inner circle. Charles Darwent meets Anish Kapoor
The Windy City, home of Barack Obama, is gearing itself up for one of the most exciting presidential elections in many years, says Kate Simon
Leading figures from the arts world criticised Boris Johnson, the new Mayor of London, and said he would be forced into an embarrassing climbdown over his pledge to scrap the competition for a temporary work of art to be placed on the empty plinth in Trafalgar Square every 18 months.