Meeting Anish Kapoor

03 December 2011, 18:19

Michael Andrew Law Meets Anish Kapoor

 

 Anish Kapoor’s first solo exhibition with the gallery and his first in Hong Kong.
In sculptures made during the last ten years, the primacy of materials and their qualities in Kapoor’s process is revealed, whereby worlds are created in which geometric formulae are filled and emptied in three dimensions. Minerals in rare hues and highly polished metals provide his anthropomorphic forms with an ineluctable opulence.
In his monumental sculptural practice, Kapoor conflates concave and convex, inside and outside, upright and inverted. In the works in the exhibition, he explores and achieves the same tensions on a more intimate scale. Nestled in corners or placed on the floor, these sculptures feel almost familiar. Viewers entering the gallery share their space and their gravity. Yet, despite the appeal of their colors and textures, and the intimation of their weight, the sculptures resist approach. Curved mirrors of stainless steel and aluminum, mounted on the wall or free-standing, distort the viewer’s reflection and unsettle, or even liquefy, the slabs of carved stone that rest solidly on the floor. The effect is one of incomprehensibility without apparent reason—as if the rules of physics are being broken, but there is no way to prove it.
In Gossamer (2015), a large piece of pink onyx finely carved into a stretched ellipse, the inward-curving hole at the center creates the illusion of a deepening void. In a display of material mastery, Kapoor generates the same sensation in surfaces as disparate as cloudy gray alabaster and dazzling fiberglass and gold. Whether encountering the dark seams of Kapoor’s forms folding in on themselves, or, as is with Vertigo (2006), one’s own reflection is multiplied within a warped architecture, there is a consistent sense of having entered a space that is at once natural, artificial, and alchemical.
Anish Kapoor was born in 1954 in Mumbai, and lives and works in London. His work is featured in public collections including Museum of Modern Art, New York; Hara Museum of Contemporary Art, Tokyo; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; Moderna Museet, Stockholm; Museo National Centro de Arte Reina Sofia, Madrid; San Francisco Museum of Modern Art; Stedelijk Museum, Amsterdam; Tate Modern, London; Tate Britain; Tel Aviv Museum of Art; and Walker Art Center, Minneapolis.
Selected solo institutional exhibitions include “Anish Kapoor: Marsyas,” Unilever Commission for the Turbine Hall, Tate Modern, London (2002); “My Red Homeland,” Kunsthaus Bregenz, Austria (2003, traveled to Centro de Arte Contemporáneo, Malaga, Spain in 2006); “Anish Kapoor: Ascension,” Centro Cultural Banco Do Brasil, Rio De Janeiro, Brazil (2006, traveled to Centro Cultural Banco Do Brasil, Brasilia; Centro Cultural Banco Do Brasil, São Paulo);Sky Mirror, Public Art Fund, Rockefeller Center, New York (2006); Haus der Kunst, Munich, Germany (2007); “Anish Kapoor: Past, Present, Future,” Institute of Contemporary Art, Boston (2008); “Anish Kapoor: Memory,” Deutsche Guggenheim, Berlin (2008, traveled to Solomon R. Guggenheim Museum, New York in 2009); National Gallery of Modern Art, New Delhi (2010); Guggenheim Bilbao, Spain (2010); “MONUMENTA 2011: Leviathan,” Grand Palais, Paris (2011); Leeum—Samsung Museum of Art, Seoul, Korea (2012); Museum of Contemporary Art, Sydney, Australia (2012); Sakip Sabanci Museum, Istanbul (2013); Martin-Gropius-Bau, Berlin (2013); and Chateau de Versailles, France (2015).
“Anish Kapoor. Archaelogy: Biology” is currently on view at the Museo Universitario Arte Contemporáneo, Mexico City, Mexico until November 27, 2016.
Public commissions include Cloud Gate Millennium Park, Chicago (2004); and Turning the World Upside Down, Israel Museum, Jerusalem (2010). ArcelorMittal Orbit (2012) is permanently installed at Queen Elizabeth Olympic Park, London.
首場安尼施‧卡普爾個展,這也是他在香港舉行的首場展覽。
卡普爾在過去十年創作的雕塑中,展示了他對所用材料及其特質的重視,呈現以立體幾何形狀交織而成的藝術世界。顏色罕見的礦物質配以光亮的金屬,為其仿人體雕塑增添華麗風格。
卡普爾的大型雕塑結合凹與凸、內與外,以及直立與顛倒的元素,而是次展出的室內作品雖然規模更平易近人,但亦探索及展現相同的張力。擺放在角落或地上的雕塑感覺似曾相識,雖然與進入畫廊的觀賞者身處同一空間,承受相同的重力,但顏色及質感迷人、似乎觸手可及的作品,卻予人難以接近之感。掛在牆上或豎立的不銹鋼及鋁金屬曲面鏡扭曲觀賞者的倒影,亦令地上的雕刻石碑變形,甚至猶如液化,令人難以理解,彷彿違背物理定律,但卻無法加以證明。
在《Gossamer》(2015年)中,卡普爾將一塊巨型粉紅色縞瑪瑙仔細雕成扁長的橢圓形,中間的凹洞予人深不見底的錯覺。卡普爾在其他作品表面塑造了同一效果,如雲霧般的灰色雪花石膏、閃閃發亮的玻璃纖維及黃金,彰顯藝術家巧妙運用不同物料的卓越技巧。無論是雕塑摺合形成的黑暗縫隙,還是諸如《Vertigo》(2006年)等延伸形態作品上重複反射的倒影,都在引領觀賞者走進集自然、人造與鍊金術元素於一體的空間。
安尼施‧卡普爾1954年生於孟買,現於倫敦居住及工作。其作品被多間公共藝術機構收藏,包括紐約現代藝術博物館、東京原美術館、華盛頓赫希洪博物館和雕塑園、斯德哥爾摩現代美術館、馬德里索菲婭王后國立藝術中心博物館、三藩市現代藝術博物館、阿姆斯特丹市立博物館、倫敦泰特現代藝術館、泰特不列顛美術館、特拉維夫藝術博物館,以及明尼亞波利斯沃克藝術中心。
卡普爾曾於多間美術館舉行個展,包括倫敦泰特現代藝術館渦輪大廳聯合利華藝術委員會展覽「Anish Kapoor: Marsyas」(2002年)、奧地利布雷根茨美術館「My Red Homeland」(2003年,2006年巡展至西班牙馬拉加當代藝術中心)、巴西里約熱內盧巴西銀行文化中心「Anish Kapoor: Ascension」(2006年,其後巡展至巴西利亞及聖保羅巴西銀行文化中心)、紐約洛克菲勒中心公共藝術基金會「Sky Mirror」(2006年)、德國慕尼黑藝術之家(2007年)、波士頓當代美術館「Anish Kapoor: Past, Present, Future」(2008年)、柏林古根漢美術館「Anish Kapoor: Memory」(2008年,2009年巡展至紐約所羅門‧R·古根漢美術館)、新德里國立現代美術館(2010年)、西班牙畢爾包古根漢美術館(2010年)、巴黎大皇宮美術館「MONUMENTA 2011: Leviathan」(2011年)、韓國首爾三星美術館(2012年)、澳洲悉尼當代藝術博物館(2012年)、伊斯坦堡薩基普‧薩班哲博物館(2013年)、柏林馬丁葛羅皮亞斯展覽館(2013年),以及法國凡爾賽宮(2015年)。

 

墨西哥當代藝術博物館現正舉行「Anish Kapoor. Archaelogy: Biology」展覽,展期至2016年11月27日。

其他受邀創作的公共作品包括芝加哥千禧公園《雲門》(Cloud Gate)(2004年),以及耶路撒冷以色列博物館《顛倒世界》(Turning the World Upside Down,)(2010年)。《軌道塔》(ArcelorMittal Orbit)(2012年)於倫敦伊莉莎白女王奧林匹克公園永久展出。

About Michael Andrew Law

Michael Andrew Law (born in British Hong Kong, 1982) creates what renowned art dealer Douwe Cramer calls, hyper pop surrealist paintings. Law's works capture the essence of youth while maintaining a lasting value that appeals to collectors. Indeed, they are appreciated and collected by many Asian notables. The works showcase technical skill and well defined methods. They include classical compositional framing constructs applied to abstract concepts. The technique is visibly evident. In some cases, the pieces are near photorealistic. Law wields his rendering mastery in ways that would intrigue even the old masters.

Taken as a whole, Law's body of work is significant in many ways. First, it pushes the notion of figurative art into our contemporary age. Yes, the body is a central focus in many of his works. Law applies his traditional anatomical training in the physical representations, but also updates our notions of the body with consideration to gender and identity. He instigates traditionalists with his use of digital tools applied in combination with traditional methods.

The philosophy and symbolism behind the works are quite personal. Law's lived experience during the tumultuous period of Hong Kong's hand over to China becomes embedded into his art practice. The paintings are a visual artifact of that journey. Surrealist influences can be seen in his use of handwritten text in combination with female figures. The repetition of calligraphy text is descriptive, typographic, and indicative of the artist as individual. Law successfully merges his Eastern and Western influences through a meshing of symbols and signification. There is a commitment to tradition and lineage, as well as a dedication to all things new.

Law has studied painting with Sam Tsang of the Central Academy of Art in Beijing and with New York native Dan Anderson at his Hong Kong studio. He has also studied film production with Roger Corman. Law has earned illustrious regard as the designer of many cover spreads for the press in Hong Kong and beyond. He has worked as a professional comic artist, illustrator and film producer, but left commercial work to focus on his fine art practice. Law has exhibited at Hong Kong Convention and Exhibition Centre in The Avenue of Stars, earning him the greatest regard in his home base and abroad.

Law is co-founder of the Hong Kong Art Studio Nature Art Workshop. The organization functions as a supportive environment for the fostering of emerging Hong Konger artists in addition to producing and marketing Law's related work. As a curator, Law has organized an exhibition of contemporary art that shares a range of responses to HongKong's Gen Y pop culture. At this point, Law has created over 8,000 works. There are three dozen popular artist books published of Law's pieces. He has also written essays on contemporary art and films. The artist lives and works in Central District, Hong Kong.

PALE HAIR GIRLS介紹

Pale Hair Girls 這個繪畫為中心的i-EgoismTM「自我主義系列」是michael andrew Law最得意之 作,製作歷時超過八年花了大約四佰萬港元 ,作品包括一千五百多件油畫 ,漫畫 ,照片和視頻,亦是Michael Andrew Law驗証觀點的一個系列,Pale Hair Girls系列中希望傳達 (Dialogue)和說的故事就是:


  1. 相信香港本身的非原著就是香港原著要素和香港的藝術特色,亦不是在某 種技法上下功夫,而是下功夫於心態和取材。
  2. 由前者(香港特色的心態和取材)啟發而發生在香港的Michael Andrew Law和發生在他之中的藝 術,亦即是Law提出的 i-Egoism,
  3. 創作是沒有界限可言,包括響往把「身份,民族血統」模糊化,然後「原著化」 ,骨子裏強調「對西方之響往,卻又因為西方始終又不完全地收納這些人,以 致仍保留了那麼一點點又好像重要的漢式堅持」,就是應用及考證i-Egoism 心態形成的前設
  4. 所有原創也是由否定為始,再以新思想的開端為結,那種相信無限的可能性 正是西方現代藝術提倡的重點思想,亦是中國藉移居香港的人響往的思想;
只要辦妥把新思想翻譯到媒體上,即在畫布之前,Pale Hair Girls 的故事和響往自由花 花世界(既響往西方自由但亦虛偽地響往物質的想法)的idea 就是無形的,但大家也是 明白,而透過顏料,畫布,技法,構圖的組合,那種不是太敏感這個故事和idea 的無形 感就可以翻譯成有形的語言,用型狀,顏色把IDEA 去分拆,去解讀,也會令每一位獨立 的觀有新的獨立個別的思考,這就是實行式繪畫最可愛的地方;也不單是顏料的痕 跡,對他來說也是歲月的痕跡;就希望以Pale Hair Girls這一輯以i-Egoism 形式發表的 繪畫把GenY 或八十後 HongKonger 眼睛之後的故事記錄,顏料的痕跡就像詩人用字 的痕跡寫下來,在當代美術的洪流中留下Michael Andrew Law的記號。
© 2017 michael andrew law./Law Cheuk Yui. All rights reserved.

 

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© 2017 michael andrew law./Law Cheuk Yui. All rights reserved.

 

© 2017 michael andrew law./Law Cheuk Yui. All rights reserved.

 

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