Anish Kapoor

  • Dates:2019-10-25 - 2020-01-01
  • Location:CAFA Art Museum | Imperial Ancestral Temple
  • Opening:2019-10-25 10:00
  • Organizer(s): Central Academy of Fine Arts Beijing Municipal Federation Trade Unions
  • Academic Consultant: Fan Di'an
  • Artistic Director: Su Xinping
  • Chief Curator: Zhang Zikang
  • Curator: Wang Chunchen Yue Jieqiong
  • Curatorial Advisor: Hans Ulrich Obrist

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Artworks

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Photographs

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Anish Kapoor’s First Solo Museum Exhibition in China Opens in October

2019-10-12

 Anish Kapoor  CAFA Art Museum & Taimiao Art Museum  CAFA Art Museum (CAFAM) 2019/10/25 - 2020/1/1Preview Day: 10/25Public Opening: 10/26 Taimiao Art Museum  2019/11/11 - 2019/12/28Public Opening: 11/11Internationally celebrated British artist Anish Kapoor will open a major solo exhibition in Beijing this October. As Kapoor’s first solo museum show in China, the exhibition will present some of the artist’s most significant and celebrated works of his last 35 years. The exhibition at CAFA Art Museum will open on October 25, featuring the artist’s powerful, self-generated installations; the exhibition that will open on November 11 at Taimiao Art Museum of Imperial Ancestral Temple will show his sensorial, geometrical sculptures.Fan Di’an, President of China Artists Association and Director of the Central Academy of Fine Arts (CAFA), is the academic supervisor of the exhibition. Deputy Director of CAFA Su Xinping is the art director, CAFAM Director Zhang Zikang the chief curator, and CAFAM Deputy Director Wang Chunchen and Executive Director of Taimiao Art Museum Yue Jieqiong the curators. The exhibition also invites artistic director of the Serpentine Galleries, London, Hans-Ulrich Obrist to be its curatorial consultant. The exhibition is a deep exploration of Kapoor’s visual art language, as well as an important witness of China-UK cultural exchange.Anish Kapoor, Symphony for a Beloved Sun, 2013Stainless steel, wax, conveyer beltsPhoto credit: Dave Morgan ©Anish Kapoor, 2019The exhibition at the contemporary architecture CAFA Art Museum will present the dramatic and performative properties of Kapoor’s work, and focus on four of the most important works of the artist’s. The 2013 work Symphony for a Beloved Sun, exhibited at Martin-Gropius Bau in Berlin, will meet the public with a new look at the museum lobby. On the third floor gallery, there will display Kapoor’s debut exhibit at the Palace of Versailles in 2015, Sectional Body preparing for Monadic Singularity. The neighboring space will show Destierro, the industrial landscape work he showed in 2017 at Argentina’s Parque de la Memoria, or Memory Park, which features a lonely, ultramarine bulldozer in contrast with hundreds of tons of red earth. On the fourth floor of the museum, the automatic installation work My Red Homeland (2003) will be exhibited.Anish Kapoor, Sectional Body preparing for Monadic Singularity, 2015PVC and steel730 x 730 x 730 cmPhoto credit: Tadzio©Anish Kapoor, 2019Anish Kapoor, DestierroEarth, pigment and mechanical diggerDimensions variable©Anish Kapoor, 2019Anish Kapoor, My Red Homeland, 2003Wax and oil-based paint, steel arm and motorDiameter: 12 m©Anish Kapoor, 2019Except for these large-scale installation works, Kapoor will also exhibit models of the important public sculptures of his decades-long art practice, including the Cloud Gate (2004), Orbit (2010), Scheme for South Bank Centre (2001), Subway Stations, Monte Sant'Angelo, Naples (1999-2002), and the 56 Leonard Street sculpture model to be exhibited in New York this October.Sky Mirror, 2006Stainless steelDiameter: 10 mPhoto credit: Tim Mitchell©Anish Kapoor, 2019Tsunami, 2018Stainless steelPhoto credit: Dave Morgan©Anish Kapoor, 2019The other part of the solo exhibition will take place at the Taimiao Art Museum of Imperial Ancestral Temple, which belongs to the Forbidden City architecture group. The 600-year-old Taimiao is composed of buildings and courtyards of large volume. By reflecting and refracting the space using a series of stainless steel and pigment sculptures, Kapoor is having an unprecedented dialogue with the magnificent architecture and the history. His most impactful, interactive pair of works, S-Curve (2006) and C-Curve (2007) will be placed in the mid-court of Taimiao. “S-Curve” is a S-shaped sculpture formed by two seamlessly connected stainless steels. “C-Curve” is one large piece of curved stainless steel. The two art works, respectively in convex and concave shapes, directly reflects and retracts landscape around them. Located around these works is another group of important stainless steel sculptures by Kapoor, including Non-Object (Spire) (2008), and Non-Object (Door) (2008). These works show its environment up-side-down, make the audience immerse in the surrounding architecture and environment, and challenge the audience’s conceptive experience.Anish Kapoor, Svayambhu, 2007Wax and oil-based paintDimensions variablePhoto credit: Dave Morgan©Anish Kapoor, 2019Pigment sculptures will be exhibited in the two side halls of Taimiao Art Museum’s Xiang Dian. Kapoor’s use of pigment is the foundation of many of his original works. He quickly rose to fame with the 1000 Names series (1979-1982) due to its innovative use of pigment. Other pigment sculptures that ensued, including the Angel (1990) in blue and the To Reflect an Intimate Part of the Red (1981) in a variety of colors and shapes, will appear in this exhibition. The varied art works will fill the ancient architecture space. All kinds of shapes will put the audience in a daze.Leviathan, 2011PVC33.6 x 99.89 x 72.23 mExhibited at Grand Palais during the Monumenta, 2011Photo credit: Dave Morgan©Anish Kapoor, 2019The exhibition is co-organized by Central Academy of Fine Arts and the Beijing Municipal Federation Trade Unions, and co-hosted by the CAFA Art Museum and the Taimiao Art Museum. We would like to extend special thanks to our chief supporting organization Zhonghong Chuangyi (Beijing) Culture Development Co, Ltd., and other supporting organizations Lisson Gallery, Galleria Continua and the British Council. About the Artist Anish KapoorPhoto credit: Jillian EdelsteinAnish Kapoor was born in Mumbai, India in 1954 and lives and works in London. He studied at Hornsey College of Art, London, UK (1973–77) followed by postgraduate studies at Chelsea School of Art, London, UK (1977–78). Recent solo exhibitions include CorpArtes, Santiago, Chile (2019); Pitzhanger Manor and Gallery, London, UK (2019); Serralves Museum, Porto, Portugal (2018);  'Descension’' at Public Art Fund, Brooklyn Bridge Park Pier 1, New York, NY, USA (2017); Parque de la Memoria, Buenos Aires, Argentina (2017); MAST Foundation,Bologna, Italy (2017); Museo Universitario Arte Contemporáneo (MUAC), Mexico City, Mexico (2016); Couvent de la Tourette, Eveux, France (2015); Château de Versailles, France (2015) and The Jewish Museum and Tolerance Center, Moscow, Russia (2015). He represented Britain at the 44th Venice Biennale in 1990 with Void Field (1989), for which he was awarded the Premio Duemila for Best Young Artist. Kapoor won the Turner Prize in 1991 and has honorary fellowships from the University of Wolverhampton, UK (1999), the Royal Institute of British Architecture, London, UK (2001) and an honorary doctorate from the University of Oxford, UK (2014). Anish Kapoor was awarded a CBE in 2003 and a Knighthood in 2013 for services to visual arts. Large scale public projects include Cloud Gate (2004) in Millennium Park, Chicago, USA and ArcelorMittal Orbit (2012) in the Queen Elizabeth Olympic Park, London, UK. About the Organizers ╱CAFA Art MuseumThe history of the CAFA Art Museum can be traced back to the early 1950s. Originally called the Central Academy of Fine Arts Gallery, it was located on Wangfujing, Beijing. Designed by the noted architect Zhang Kaiji, the Gallery was the first professional art museum built after the establishment of the People’s Republic of China. In 1998, the Gallery changed its name to the CAFA Art Museum. In October 2008, the museum moved to the No. 8 Huajiadi South Street in Beijing’s Chaoyang District, with a new building designed by the noted Japanese architect Arata Isozaki. In the end of 2010, the CAFA Art Museum was selected to be one of the firsts to be listed as the Key National Museums. The CAFA Art Museum is a professional and international modern art museum that conducts academic research, presents exhibitions, restores artworks and provides art education. The museum upholds the philosophy of open-mindedness and is rooted in the concept of using knowledge to serve society. It aims to bridge the past and the future through presenting great artistic and cultural accomplishments of our humanity, and share the culture of our times with all quarters of society.╱Taimiao Art MuseumThe Taimiao Art Museum is located in the Forbidden City architecture group, China’s highest-ranking architecture group that has lasted for 600 years. It is a combination of magnificent building, rich history, profound background and spirit of the era, an artistic and cultural palace of the new time against the ancient royal architectural background established in the Ming and Qing dynasties.The Taimiao Art Museum is co-operated by the Beijing Municipal Federation Trade, the Beijing Working People’s Cultural Palace and the Central Academy of Fine Arts. It has functions including exhibition, collection, research, public education and domestic and international cultural exchange, and keeps improving its operation mechanism and organization structures with high standard of sociability, professionalism and social benefits. About the Exhibition Academic Consultant: Fan Di'an Artistic Director: Su Xinping Curatorial Advisor: Hans Ulrich ObristChief Curator: Zhang Zikang Curators: Wang Chunchen Yue Jieqiong Organizers: Central Academy of Fine Arts, Beijing Municipal Federation Trade Unions Co-Organizers: CAFA Art Museum, Taimiao Art Museum Chief Supporting Organization: Zhonghong Chuangyi (Beijing) Culture Development Co, Ltd.Supporting Organizations: Lisson Gallery, Galleria Continua and the British Council CAFA Art Museum | Time | 2019/10/25 - 2020/1/1Open to the public on 10/26| Opening Hours |Tuesday to Sunday 9:30-17:30(Last admission 17:00)/ Closed on Monday Taimiao Art Museum | Time | 2019/11/11-12/28| Opening Hours |9:00-17:00 daily(Last ticket purchase 16:30) Ticketing Information *  All kinds of ticket can be used throughout the exhibition starting 10/26.Scan the QR code to purchase ticketEarly-bird Ticket:90 yuan(Available from 2019/10/10-10/25)Adult ticket: 120 yuanDiscount ticket: 60 yuan(Please refer to discount ticket use policy below for eligibility)Family ticket: 260 yuan(2 adults and 1 child above 120 cm)*Group ticket: Groups of 10 or more may enjoy 20% discount off original price.Visitors with union membership card may enjoy 20% discount off original price.(Group ticket only available at the CAFAM front desk)For inquiries please call: 010-64771575 | Notes | * The ticket of Anish Kapoor exhibition at CAFA Art Museum is 120 yuan. Visitors with union membership card may enjoy 20% discount off original price, and visit the Anish Kapoor exhibition at the Taimiao Art Museum for free. Visitors to Taimiao without card could buy the bell exhibition ticket for 15 yuan, and enjoy the Anish Kapoor exhibition for free. The east and west side halls of Xiang Dian are open for free. Visitors may enter with 2-yuan palace ticket.* Teachers and students of CAFA, children under 120cm (adult company is required, and the adult needs to purchase ticket), elderlies above 60, military service men and disabled people may visit the exhibition for free.* Students above 120cm (graduates students included), visitors with CAFA Alumni Card, CAFAM VIP Card, CAFAM Membership Card and Museum Association Membership Card, museum employees may purchase discount ticket.Note: Free ticket and discount ticket can be purchased and verified upon showing credentials. CAFAM reserves the right for final explanation. More

Fan Di’an: Welcome to Explore the Secret Echoes of the Spirit of Anish Kapoor’s Art | Exhibition is Open to the Public on October 26

2019-10-22

 Anish Kapoor solo exhibition in China  CAFA Art Museum & Taimiao Art Museum   CAFA Art Museum  2019/10/26 - 2020/1/1 Taimiao Art Museum 2019/11/11 - 12/28Mr. Anish Kapoor is a representative of contemporary Western art and also a renowned artist in the international contemporary art world. His works have been highlighted frequently in international art exhibitions, particularly those large-scale works towering in the urban public spaces, exerting a significant influence as a trans-century wonder of art. In Autumn 2019, his first large-scale retrospective art exhibition in China will be held simultaneously at CAFA Art Museum and the Taimiao Art Museum, which could be regarded as a spectacular journey of Kapoor’s art in China.Anish Kapoor, DestierroEarth, pigment and mechanical diggerDimensions variable©Anish Kapoor, 2019In the changing trend of Western art and culture at the end of 20th century, Kapoor’s art emerged with its ideas and forms showing both individuality and publicity. The interlacing of his rigorous thinking, mysterious fantasy and free imagination render his art beyond previous patterns, bursting out a luster of fresh perceptions, and becoming a cultural representation with multiple implications and abundant energy. Kapoor’s creation is rooted in ancient Indian philosophy. He integrates the spiritual core of Eastern culture with the modern symbolism of Western culture and establishes a unique relationship between material media and cultural metaphor, self-sufficient pattern and ecological environment. He advocates that color is baptism and belief, space is mind and soul, and material is in spiritual possession, which makes his works invite mysterious and powerful resonance force in the binary compound languages such as the material and immaterial, existence and transcendence, essence and extension. In the 1980s, Kapoor had become one of the representative artists of the “New British Sculpture”, and won the “Turner Prize” that manifests the spirit of western innovation and exploration. As his ideas correspond to and reflect the new cultural reality and cultural psychological signs in the global context, his art is widely accepted globally, resulting in a broad influence in cross-cultural communications.Anish Kapoor, Symphony for a Beloved Sun, 2013Stainless steel, wax, conveyer beltsPhoto credit: Dave Morgan ©Anish Kapoor, 2019The capability of the artists lies in the realization of a complex concept into a simple visual form and the application of the pure visual form in prompting the metaphysical implication. Kapoor is a master in grasping the relationship between purity and polysemy. He is good at using the space where the works are placed to create the site of generation of the works, producing illusive impressions and offering viewers with immersive perceptions. Some of the language signs belong to his specialities, such as the applying of red - a symbol of life origin, the powder that embodies the idea of “emptiness” and the “descension” that looks like a whirlpool, a cavern or a blackhole. The material and form he’s best at is his installation work of stainless-steel structure. This kind of works are extremely pure, always featuring a curved surface, thus making the bright and clean surface not only a shiny object itself but also a carrier of the surrounding landscape, while the phenomenon of refraction and reflection leads to a series of conversion from “ordinary” to “extraordinary”, producing a stunning “mirror image”.Anish Kapoor, Cloud Gate, 2001-2004Stainless steel25 x 15 x 12mMillennium Park, Chicago©Anish Kapoor, 2019Anish Kapoor, Non-Object (Spire), 2007Stainless steel302.3 x 300 x 300cmPhoto credit: Tim Mitchell©Anish Kapoor, 2019Anish Kapoor, C-Curve, 2007Stainless steel2.2m x 7.7m x 3mPhoto credit: Dave Morgan©Anish Kapoor, 2019Sky Mirror, 2006Stainless steelDiameter: 10 mPhoto credit: Tim Mitchell©Anish Kapoor, 2019Tsunami, 2018Stainless steelPhoto credit: Dave Morgan©Anish Kapoor, 2019Mr. Kapoor attaches great importance to the journey of his art in China, and planned and prepared for the show together with my colleagues, who are the show’s host. We both hope that the exhibition could academically present Kapoor’s main artistic achievements to date, and also build a site for direct experience of his large-scale works. Contemporary Chinese art, while basing itself on domestic innovation and development, still needs to keep an eye on the world, carry out extensive exchanges and form a profound cultural dialogue. Kapoor’s art is so intelligently responsive to the complexity of today’s world, and so wonderfully makes spectators perceive the metaphysical secret echoes of its spirit. This Autumn, in response to Kapoor’s wish to “invite people to explore”, let’s immerse ourselves in his grand art scene and have a free discussion.Fan Di’anDirector of Central Academy of Fine ArtsPresident of Chinese Artists AssociationOctober 2019Anish Kapoor, Sectional Body preparing for Monadic Singularity, 2015PVC and steel730 x 730 x 730 cmPhoto credit: Tadzio©Anish Kapoor, 2019Anish Kapoor, My Red Homeland, 2003Wax and oil-based paint, steel arm and motorDiameter: 12 m©Anish Kapoor, 2019Anish Kapoor, To Reflect an Intimate Part of the Red, 1981Mixed materials, color powder200 x 800 x 800cmPhoto credit: Andrew Penketh©Anish Kapoor, 2019 About the Exhibition Academic Consultant: Fan Di'an Artistic Director: Su Xinping Curatorial Advisor: Hans Ulrich ObristChief Curator: Zhang Zikang Curators: Wang Chunchen Yue Jieqiong Organizers: Central Academy of Fine Arts, Beijing Municipal Federation Trade Unions Co-Organizers: CAFA Art Museum, Taimiao Art Museum Chief Supporting Organization: Zhonghong Chuangyi (Beijing) Culture Development Co, Ltd.Supporting Organizations: Lisson Gallery, Galleria Continua and the British Council CAFA Art Museum | Time | 2019/10/25 - 2020/1/1Open to the public on 10/26| Opening Hours |Tuesday to Sunday 9:30-17:30(Last admission 17:00)/ Closed on Monday Taimiao Art Museum | Time | 2019/11/11-12/28| Opening Hours |9:00-17:00 daily(Last ticket purchase 16:30) Ticketing Information *  All kinds of ticket can be used throughout the exhibition starting 10/26.Scan the QR code to purchase ticketEarly-bird Ticket:90 yuan(Available from 2019/10/10-10/25)Adult ticket: 120 yuanDiscount ticket: 60 yuan(Please refer to discount ticket use policy below for eligibility)Family ticket: 260 yuan(2 adults and 1 child above 120 cm)*Group ticket: Groups of 10 or more may enjoy 20% discount off original price.Visitors with union membership card may enjoy 20% discount off original price.(Group ticket only available at the CAFAM front desk)For inquiries please call: 010-64771575 | Notes | * The ticket of Anish Kapoor exhibition at CAFA Art Museum is 120 yuan. Visitors with union membership card may enjoy 20% discount off original price, and visit the Anish Kapoor exhibition at the Taimiao Art Museum for free. Visitors to Taimiao without card could buy the bell exhibition ticket for 15 yuan, and enjoy the Anish Kapoor exhibition for free. The east and west side halls of Xiang Dian are open for free. Visitors may enter with 2-yuan palace ticket.* Teachers and students of CAFA, children under 120cm (adult company is required, and the adult needs to purchase ticket), elderlies above 60, military service men and disabled people may visit the exhibition for free.* Students above 120cm (graduates students included), visitors with CAFA Alumni Card, CAFAM VIP Card, CAFAM Membership Card and Museum Association Membership Card, museum employees may purchase discount ticket.Note: Free ticket and discount ticket can be purchased and verified upon showing credentials. CAFAM reserves the right for final explanation. More

Zhang Zikang: Transformation – Kapoor’s Construction of Nothingness

2019-11-06

Kapoor has extraordinary mastery and sensibility of materials. No matter the volume of the work, he can give full play to the characteristics and potential of materials, instead of just taking them as the language of modeling. More

安尼施·卡普尔:回家

2020-09-22

我的红色家乡,2019人/无人我们与世界的关系似乎已经完全改变,我们的行为和将它们压缩在内的空间之间的距离好像总是在经受考验,个人仅是处于无界之镜中心的一粒原子,吞噬并被吞噬,同时他通过保持原状来确认自己的身份,就像蝴蝶也知道为了生存它必须停驻在树干上隐藏自身,并通过不同色彩的装扮来变换它的外观。艺术与本体相融——艺术家的足迹对应星体运行的轨迹,可言说之物对应黑夜的宁静,凝视内在自我对应地心之旅,冒险则对应于在虚空中被事件围绕着的轴线。哈姆雷特说:“身虽囿核桃,心为无限王”,这个绝妙的悖论使他将自己看作是一个戏剧角色和美学创造者。这位悲剧英雄如艺术家般自由地塑造自己,并否认自然宇宙与自身空间之间有任何边界。我们今天发现,正是在这样的美学选择下,艺术家刻意将自己置于困境中来推翻他所有的本能期望。因为只有艺术家被封闭在自我空间里时,他才能够克服作品中不可动摇的确定性所带来的冲击。并且,他作为这个无限空间的主宰者,试图让所有想要诠释他作品的人认识到他们完全是错误的,但这些尝试只会是徒劳,因为这个作品已经不再属于他;他是一种“超存在”,一种外部性的“形式”,关联着所有存在于他工作室内的客体以及它们的句法关系。他是一位使不可能与现实并存的王者。安尼施•卡普尔是一名领航者,他能重建出脱离实体的形式线条,将具有普遍性的事物完全转化为自己的东西。通过这种方式,他不仅代表了艺术家,也代表了所有冲破内部与外部隔膜的人类;同时,他们也被认为是并存于这两个世界周围的人(personne即“人”,“无人”)。在这种表层张力中,只有他们才能把控自身与宇宙空间的接触。在这种存在于瞬间,且能使宇宙远离地球、脱离实体,变得容易理解的能力下,我们发现一位创作者在创造与毁灭的瞬间,在无限可分割且各不相同的时刻里,使自己的整个人格充满了张力。颜色是现成品颜色的空间也是颜色的时间,是瞬时的、具有确定性和双重性的当下,它永远不会完全消失,因为它总是处于诞生的状态。颜色是一种自我创造的客观存在形式,就像天晴或下雨一样。“它”(指颜色)。它或独自或在集体中创造自身,作品以它来描绘、塑造自身,而观者从它开始,通过调和它来实现它本身。它与我们相关,因为我们与它相关,它就是一个空间和一段时间的深渊,模仿着我们。空间从来不是固定的,而时间永远是连续的、不可逆的。在这些坐标中,我们通过区分特征,以及将颜色从作品的线条与绘制中分离出来的方式来识别作品。颜色使形式成为可能,颜色就是材料。在卡普尔的作品里,颜色具有转化的力量,它就像一个光环,覆盖在神秘难解的形状上,然后分解成无数的时间片段。艺术家之手在雕塑上并没有留下痕迹,犹如它的形式已独自彰显其本身。在作品的主体侧重表现色彩之前,颜色只是一种印象。然后,它逃脱出当下,跳跃过本身,将自己转化为一种表达。颜色不再是一个表述谓语,也不再是只是一个吸收和反射另一主体的发光体。颜色是一个现成品。母性空间在《诗歌语言中的革命》(1984)里,“主体性”和某种后结构主义的理论家茱莉亚•克里斯蒂娃将语言描述为一种“言说主体可以创造和破坏其本身”的符号系统。她补充道:“我们的语言哲学,作为理念的化身,仅仅呈现出一种档案管理员、考古学家,甚至恋尸癖式的思维模式。”事实上,许多非后结构主义理论认为语言是一种没有生命的人造物,它可以被存档、分类和埋没,被当作是一种形式客体、静态实体和研究课题。如此,这些理论否定了我们生成意义与经验的动态过程。同样地,在视觉艺术领域里,一些形式主义理论家在分析创作者的作品时,他们的过度诠释脱离了作品本身,成为了错误的产物。这在安尼施•卡普尔的作品中是不可能出现的,因为他的雕塑从未僵化在某个地方,它从自己的起源处便消失了,即使那个起源可能是它的一个不可言喻的存在条件。它们有着可移动的形态,是原创的、衍生的,并且接连不断,它们总是额外地去弥补自身中空白的、缺失的却又绝对的地方。因此,这些作品的意义看起来似乎是将一个生命体,即艺术家的身体,注入到语言和雕塑中。离开了“表达的主体”,卡普尔的作品就无法被诠释。如同最初婴儿模仿父母的节奏和音调做手势和咯咯笑,雕塑可以处于一种永恒并自发地运动的 “前象征”状态。茱莉亚• 克里斯蒂娃从柏拉图的《蒂迈欧篇》中借用了一个术语“母性空间(Chora)”来定义一种先于语言的发音和节奏。她对这位希腊哲学家所创造的术语赋予了更大的模糊性,将其解释为“容器和生产者,宇宙中最初的容器且不能被摧毁。”这是指“宇宙大爆炸”之前的空间吗?“母性空间”是一种无定形、可移动且具有延展性的东西,它没有主题或方位,是一个意义生成的过程。在这种原始的、排泄的和精神分裂性质的秩序中,艺术家在“话语”浮出表面并到达它们的最终形式之前,致力于收集它们的音调变化和发音。在《我的红色家乡》(2003)中,安尼施•卡普尔创造了一个前象征性的外观,意指孩童般的状态、起源、子宫以及尚未成形的母亲形态。他还表现了成年人想要破坏符号以及意图打破对这座雕塑的认知,这是迄今为止他的作品特点,观者陷入他所诠释和填充的内容里,置身于两个超越了任何已知维度的世界的周边:他永远不知道自己是在里面还是外面,下面或是上面,但是他能够意识到自己在这个世界的“存在”,因为这件作品认同了其本身,也认同了他的身份。因此,那些与第四维度有关的形式和“非空间”的功能是具有指示性的。这件雕塑被包裹在虚空的表层里,以吸收最大限度的材料,而只有那些用自己的存在打破这个连续介质的观者,才能够赋予这件作品意义,因为他提供了一种突破雕塑内容的方式,就好像他在探寻自己的潜意识,并冲破那些阻止他直面恐惧和未知黑暗的障碍。《镜》系列的作品呈现了一种无法组织起来的奇妙想象世界,由于镜子的“表面能”可像三维屏幕一样被分解,观者体验到的是自己的世界。通过这些镜子,卡普尔邀请我们进入一个升华的空间,并看到身体的倒影,它们混合在一个形而上的、民主的空间里,“诸神逃离”(荷尔德林)。这是一个自我认识的时刻。在他早期的作品里,放置在地板的物体上覆盖了单色颜料——红、蓝、黄(《1000个名字》,1979-1980)——制作程序各不相同。这里的颜色和形态是外向性的,它们肯定了它们之间的邻近性,即在意义或表达方式上相互接近。形式、材料和颜色都在主体的厚度上具有一种合成的价值和无限的同一性 ,而这种主体的厚度则摇摆于二元性之间:天空与大地,物质与精神,可见与不可见,意识与无意识,男人与女人,光明与黑暗,身体与心灵。无器官的身体《我的红色家乡》呈现了一个母性空间。它不再是自我包裹的表面,而是集中于一瞬间的行动与热情,在这种静态起源中材料成为一种纯粹的效果,使其划伤自己并流血,然后爆发、吐出一种颜色,而这种颜色在这里仅仅代表了这个形式的感情,是一种原始的、排泄的秩序,一种超越了任何内容的深渊。在这件作品中,观者能发现最真实的崇高性本质。如果美是根据它的比例,以及它的轮廓、边界和有限性(界限的存在赋予美以形式)的协调来定义的,那么崇高是在没有形式的物体中找到了自己的容身之处,它被表现于其中或因为它的存在,使我们能够思考整个无边无际的世界。崇高指向理性的不确定性,即潜意识。崇高无法被衡量,因为它不允许自身被束缚。因此,它给眼睛带来一种特殊的愉悦感;崇高的物体不断萌芽,它是生命力在经历短暂停止后不可遏制的倾泻而出。《我的红色家乡》之所以成为一件非凡奇异的作品,在于它的大胆,以及它不同于我们已有表达方法的能力。美好的情感之后是来自崇高的冲击,是一种意义的剧烈动摇。在卡普尔的雕塑作品里,内与外、空与满之间不再有任何张力,有的则是吸引与排斥。这种极端会打开吞噬一切意义的无底洞,也会打开理性也惧怕跃入其中的虚空。雅克• 德里达说:“崇高是使人立即感到愉悦的东西,而这种愉悦是由于它与感官性质的对立( 阻力)。崇高不能存在于任何感觉形式中。世上有美丽的自然对象,但却没有感觉的自然对象。”(《画中真理》)崇高永远不像其身,也永远不在其位,它总是不规则且不成比例。与崇高相比,我们是绝对渺小的,正如地球不停旋转时,我们是麻痹的。《我的红色家乡》在令人眩晕的落差上架起一座吊索桥,使其介于表现与非表现之间。如果在这些凹面镜的无数个“孔径”前,观者能够轻易地跨越形象表面的深度效果与他的视网膜之间的距离,从自恋式的有意识到崇高的潜意识,模拟他自身的欲望,那么在《我的红色家乡》里感知则指向另一种含义:因为这件作品并不是让观者去看它脆弱的被动外观,而是去看一个主动活跃的物体,一个移动之物,一种有机元素——在一小时的完美轨道上——将一大团红色凡士林在一个空旷表面上像催眠般地拖动着,它永远是未来与过去并存,而颜色则代表了当下。艺术家在物质/ 身体上对这种含糊的语言所进行的调整工作,取代了之前所有作品中的象征性价值,以至于我们可以说,位于作品中心的巨大圆形物体就像一个庞大的无器官身体,它伴随着观众进入一个未知的内框区域,而不是一个完成的、确定的拓扑结构,这一点对于卡普尔来说非常重要。金属臂在发动机的驱使下,在材料的表面边缘释放出一种能量,使其成形、变形,然后重组。这就是这件作品的意义生成的地方,它和《1000 个名字》一样,物质、形式和色彩的综合成为了尚未被创造出来的作品的表述谓语。萨德式流动卡普尔的“红色家乡”也含有萨德式(非“嗜虐的”)的成分。如果对萨德来说,身体就是语言,那么对艺术家来说,色彩一定是体现在形式和反复上,这向我们展示了创作者在他的作品中所发现的界限和相互越界。在《我的红色家乡》里,卡普尔消失了,取而代之的是机器。尽管如此,这是一件比《1000 个名字》更有紧迫感,更私密的作品,是卡普尔根据自己过去经常造访出生地印度的街市的记忆而创造出来的“光环”。最终,它更好地引导我们走向我们正在追寻的东西,即真正的形式问题,但这也只不过是它自身的沉淀。艺术家对此作出了让步,他否定了(确定的)形式,或使其不构成问题,同时他也肯定了用颜色来表达过程的乐趣。因为所有发生的事情,都发生在颜色里。色彩刮擦着痛处,运行在一个可转动的点上,在此点上死即为生。回家吧。*本文首次发表于展览图录《安尼施·卡普尔,我的红色家乡》(马拉加当代艺术中心出版,2006)安吉拉·莫琳娜(艺术评论人,西班牙语言学者,文学理论和比较文学博士)李燕杰/译 More

材料背后之精神性溯源:当代雕塑家安尼施·卡普尔

2020-09-24

卡普尔通过对于空间的营造,将佛教中“空”与“有”的运用恰到好处,并通过这种超出常人观察可能性的超大体量给观者的心灵带来震撼感和敬畏感。 More

对安尼施·卡普尔的采访

2020-09-24

真正困难的是,精细地制作这些东西让你只能看到超越于物体以外的空间,而这便是我(卡普尔)所追求的东西;我(卡普尔)追求一种形而上学的观看,这不是观看物体本身,而是穿越它和超越它。当物体以某种特定的方式被制作出来的时候,你只会这样观看,因此我们必须坚持、坚持、再坚持这些东西在技术上的那一面,而这都是为了磨炼观看。 More
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This event was organized on the principles of fairness, impartiality, and voluntary participation and withdrawal. Participants undertake all risk and liability for themselves. All events have risks, and participants must be aware of the risks related to their chosen event.

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Event participants must abide by the laws and regulations of the People’s Republic of China, as well as moral and ethical norms. All participants must demonstrate good character, respect for others, friendship, and a willingness to help others.

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Event participants undertake all liability for their personal safety during the event, and event participants are encouraged to purchase personal safety insurance. Should an accident occur during an event, persons not involved in the accident and the museum do not undertake any liability for the accident, but both have the obligation to provide assistance. Event participants should actively organize and implement rescue efforts, but do not undertake any legal or economic liability for the accident itself. The museum does not undertake civil or joint liability for the personal safety of event participants.

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During the event, event participants should respect the order of the museum event and ensure the safety of the museum site, the artworks in displays, exhibitions, and collections, and the derived products. If an event causes any degree of loss or damage to the museum site, space, artworks, or derived products due to an individual, persons not involved in the accident and the museum do not undertake any liability for losses. The event participant must negotiate and provide compensation according to the relevant legal statutes and museum rules. The museum may sue for legal and financial liability.

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Event participants will participate in the event under the guidance of museum staff and event leaders or instructors and must correctly use the painting tools, materials, equipment, and/or facilities provided for the event. If a participant causes injury or harm to him/herself or others while using the painting tools, materials, equipment, and/or facilities, or causes the damage or destruction of the tools, materials, equipment, and/or facilities, the event participant must undertake all related liability and provide compensation for the financial losses. Persons not involved in the accident and the museum do not undertake any liability for personal accidents.

CAFA Art Museum Portraiture Rights Licensing Agreement

According to The Advertising Law of the People’s Republic of China, The General Principles of the Civil Law of the People’s Republic of China, and The Provisional Opinions of the Supreme People’s Court on Some Issues Related to the Full Implementation of the General Principles of the Civil Law of the People’s Republic of China, and upon friendly negotiation, Party A and Party B have arrived at the following agreement regarding the use of works bearing Party A’s image in order to clarify the rights and obligations of the portrait licenser (Party A) and the user (Party B):

I. General Provisions

(1) Party A is the portraiture rights holder in this agreement. Party A voluntarily licenses its portraiture rights to Party B for the purposes stipulated in this agreement and permitted by law.

(2) Party B (CAFA Art Museum) is a specialized, international modern art museum. CAFA Art Museum keeps pace with the times, and works to create an open, free, and academic space and atmosphere for positive interaction with groups, corporations, institutions, artists, and visitors. With CAFA’s academic research as a foundation, the museum plans multi-disciplinary exhibitions, conferences, and public education events with participants from around the world, providing a platform for exchange, learning, and exhibition for CAFA’s students and instructors, artists from around the world, and the general public. As a public institution, the primary purposes of CAFA Art Museum’s public education events are academic and beneficial to society.

(3) Party B will photograph all CAFA Public Education Department events for Party A.

II. Content, Forms of Use, and Geographical Scope of Use

(1) Content. The content of images taken by Party B bearing Party A’s likeness include: ① CAFA Art Museum ② CAFA campus ③ All events planned or executed by the CAFAM Public Education Department.

(2) Forms of Use. For use in CAFA’s publications, products with CDs, and promotional materials.

(3) Geographical Scope of Use

The applicable geographic scope is global.

The media in which the portraiture may be used encompasses any media that does not infringe upon Party A’s portraiture rights (e.g., magazines and the internet).

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

The fees for images bearing Party A’s likeness will be undertaken by Party B.

After completion, Party B does not need to pay any fees to Party A for images bearing Party A’s likeness.

Additional Terms

(1) All matters not discussed in this agreement shall be resolved through friendly negotiation between both parties. Both parties may then sign a supplementary agreement, provided it does not violate any laws or regulations.

(2) This agreement comes into effect on the date that it is signed (sealed) and the relevant boxes are selected by Party A and Party B.

(3) This agreement exists in paper and electronic forms. The paper form is made in duplicate, with Party A and Party B each retaining one copy with the same legal efficacy.

Event participants implicitly accept and undertake all the obligations stated in this agreement. Those who do not consent will be seen as abandoning the right to participate in this event. Before participating in this event, please speak to your family members to obtain their consent and inform them of this disclaimer. After participants sign/check the required box, participants and their families will be seen as having read and agreed to these terms.

I have carefully read and agree to the above provisions.

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

I fully agree to CAFA Art Museum (CAFAM) submitting to CAFA for publication the images, pictures, texts, writings, and event products (such as works created during participation in workshops) related to me from my participation in public events (including museum member events) organized by the CAFA Art Museum Public Education Department. CAFA can publish these materials by electronic, web, or other digital means, and I hereby agree to be included in the China Knowledge Resource Bank, the CAFA Database, the CAFA Art Museum Database, and related data, documentation, and filing institutions and platforms. Regarding their use in CAFA and dissemination on the internet, I agree to make use of these rights according to the stated Rules.

CAFA Art Museum Event Safety Disclaimer

Article I

This event was organized on the principles of fairness, impartiality, and voluntary participation and withdrawal. Participants undertake all risk and liability for themselves. All events have risks, and participants must be aware of the risks related to their chosen event.

Article II

Event participants must abide by the laws and regulations of the People’s Republic of China, as well as moral and ethical norms. All participants must demonstrate good character, respect for others, friendship, and a willingness to help others.

Article III

Event participants should be adults (people 18 years or older with full civil legal capacity). Underage persons must be accompanied by an adult.

Article IV

Event participants undertake all liability for their personal safety during the event, and event participants are encouraged to purchase personal safety insurance. Should an accident occur during an event, persons not involved in the accident and the museum do not undertake any liability for the accident, but both have the obligation to provide assistance. Event participants should actively organize and implement rescue efforts, but do not undertake any legal or economic liability for the accident itself. The museum does not undertake civil or joint liability for the personal safety of event participants.

Article V

During the event, event participants should respect the order of the museum event and ensure the safety of the museum site, the artworks in displays, exhibitions, and collections, and the derived products. If an event causes any degree of loss or damage to the museum site, space, artworks, or derived products due to an individual, persons not involved in the accident and the museum do not undertake any liability for losses. The event participant must negotiate and provide compensation according to the relevant legal statutes and museum rules. The museum may sue for legal and financial liability.

Article VI

Event participants will participate in the event under the guidance of museum staff and event leaders or instructors and must correctly use the painting tools, materials, equipment, and/or facilities provided for the event. If a participant causes injury or harm to him/herself or others while using the painting tools, materials, equipment, and/or facilities, or causes the damage or destruction of the tools, materials, equipment, and/or facilities, the event participant must undertake all related liability and provide compensation for the financial losses. Persons not involved in the accident and the museum do not undertake any liability for personal accidents.

CAFA Art Museum Portraiture Rights Licensing Agreement

According to The Advertising Law of the People’s Republic of China, The General Principles of the Civil Law of the People’s Republic of China, and The Provisional Opinions of the Supreme People’s Court on Some Issues Related to the Full Implementation of the General Principles of the Civil Law of the People’s Republic of China, and upon friendly negotiation, Party A and Party B have arrived at the following agreement regarding the use of works bearing Party A’s image in order to clarify the rights and obligations of the portrait licenser (Party A) and the user (Party B):

I. General Provisions

(1) Party A is the portraiture rights holder in this agreement. Party A voluntarily licenses its portraiture rights to Party B for the purposes stipulated in this agreement and permitted by law.

(2) Party B (CAFA Art Museum) is a specialized, international modern art museum. CAFA Art Museum keeps pace with the times, and works to create an open, free, and academic space and atmosphere for positive interaction with groups, corporations, institutions, artists, and visitors. With CAFA’s academic research as a foundation, the museum plans multi-disciplinary exhibitions, conferences, and public education events with participants from around the world, providing a platform for exchange, learning, and exhibition for CAFA’s students and instructors, artists from around the world, and the general public. As a public institution, the primary purposes of CAFA Art Museum’s public education events are academic and beneficial to society.

(3) Party B will photograph all CAFA Public Education Department events for Party A.

II. Content, Forms of Use, and Geographical Scope of Use

(1) Content. The content of images taken by Party B bearing Party A’s likeness include: ① CAFA Art Museum ② CAFA campus ③ All events planned or executed by the CAFAM Public Education Department.

(2) Forms of Use. For use in CAFA’s publications, products with CDs, and promotional materials.

(3) Geographical Scope of Use

The applicable geographic scope is global.

The media in which the portraiture may be used encompasses any media that does not infringe upon Party A’s portraiture rights (e.g., magazines and the internet).

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

The fees for images bearing Party A’s likeness will be undertaken by Party B.

After completion, Party B does not need to pay any fees to Party A for images bearing Party A’s likeness.

Additional Terms

(1) All matters not discussed in this agreement shall be resolved through friendly negotiation between both parties. Both parties may then sign a supplementary agreement, provided it does not violate any laws or regulations.

(2) This agreement comes into effect on the date that it is signed (sealed) and the relevant boxes are selected by Party A and Party B.

(3) This agreement exists in paper and electronic forms. The paper form is made in duplicate, with Party A and Party B each retaining one copy with the same legal efficacy.

Event participants implicitly accept and undertake all the obligations stated in this agreement. Those who do not consent will be seen as abandoning the right to participate in this event. Before participating in this event, please speak to your family members to obtain their consent and inform them of this disclaimer. After participants sign/check the required box, participants and their families will be seen as having read and agreed to these terms.

I have carefully read and agree to the above provisions.

Event Booking Form

Name:
Gender
Phone:
Valid Certificate: Identity Card
ID Number:
Email:

Reminder:

Hello! Thank you for participating in our public education event and we are looking forward to seeing you! If you cannot attend the event on time, please send a text message to 13261936837 (Liang) to cancel the booking. Please be aware that your eligibility for using the quick booking may be affected If you cancel the booking more than three times. Thank you for your understanding!