Showing posts with label Anish Kapoor. Show all posts
Showing posts with label Anish Kapoor. Show all posts

Sunday, December 2, 2012

Anish Kapoor Gangnam Style Protest


My posts have been very Anish Kapoor heavy lately.  This is the last one for a while, I promise.  It has to be done though.  I posted before about the making of a Gangnam Style parody by Kapoor and many other artists in the London community, and the video above is the final cut.  

Chinese artist Ai Weiwei made a parody of the song Gangnam Style in protest of the harsh regulations that are placed on freedoms of speech and expression in China.  The video itself, obviously a breech of these regulations, was removed from the internet and banned in China.  


Protests come in many shapes and forms, some serious and some less so.  Obviously, the premise of this video is founded on an international viral sensation, Psy's Gangnam Style.  The original video, with it's own political undertones, is a catchy and sort of ridiculous song with an equally laughable dance to go along with it.  This video, though, made its way up through the top music charts, and though silly, it is arguably one of the most recognizable songs of this year.  What better medium for staging a viral protest?  You have a song that will likely be looked into via search engines world-wide and will be seen by a younger generation, the one that will take the reigns on make changes happen in the future for subsequent generations.  


A friend of mine argued that the video was a poor way to spend time and resources and that it won't change anything, but sometimes protests don't have to be about change.  Sometimes, someone just needs to stand up and say what everyone else is thinking even if they don't have a way to fix the problem.  We can't change everything, but someone can and will do what they can the more people speak up about it. Unfortunately, with the government in China, there is very little that anyone can do to really effect changes. 


Kapoor and the other artists did a good thing to show support for an artist that makes incredibly powerful works of art in protest of the atrocities in his area. Yes the video is silly and the song is ridiculous, but honestly, it's a lot more effective to get people involved in a project that is lively and catching. And the fact that Ai Weiwei himself used that song and that video provides a direct link between the two, making Ai Weiwei's video better known via Kapoor's. I like to think that Ai probably got a kick out of seeing other artists taking after him and probably could use the boost after most likely being frustrated that his own video was banned in the country that it would need to be shown in the most. 


My same friend said that it was just a publicity stunt for Kapoor.  I say, yes, it is a publicity stunt for Anish Kapoor and all of the museums and galleries and arts centers and other artists who were involved. Heaven forbid the art community actually come together to have a bit of fun and help out a fellow artist.  Outside of the "Art World" looking in many people often have the expectation of either intellectual pretentiousness or "off-their-rocker" idealists making up the majority of the community. Maybe this video will show a human side to the arts community.  One that is willing to have a bit of fun, to be silly, to recognize popular culture, and most importantly, to speak up for one of their own and show that they are with him and support him when he needs it.   

Wednesday, November 21, 2012

This is what the art community is all about


Fun, yes, but on a serious note, many thanks to Anish Kapoor for being both incredibly awesome and for supporting Chinese contemporary artist Ai Weiwei, whose own Gangnam Style parody was banned from the internet in China.  His original video can be seen here:  http://www.youtube.com/watch?v=4LAefTzSwWY

Thursday, October 18, 2012

Anish Kapoor: Perspective and Experience



Lisson Gallery in London is currently housing an exhibition of new works by Turner-prize winning artist Anish Kapoor, who has an astonishing career since his rise to distinction in the 1980s.  His artworks have caused a stir worldwide with his seemingly simplistic, organic stylistic characteristics.  His great Bean, is one of the most well-known tourist attractions in the United States, stationed in Millennium Park in Chicago. 

The exhibition we encountered today was no less sensational that I would have expected.  Focusing primarily on two collections, the gallery showed two markedly different approaches to artistic production and representation while maintaining a principle notion of exploring new approaches to experience and form.  The artworks force the viewer into a new kind of seeing, one that counts on optical illusion and perspectival contingency. 

The first collection is a new series of earth works presented in both wall and floor sculpture and painting that evoke natural formations of earth, rock, and coral using material and pigments that are extracted from earthen matter.  The wall art, a blend of painting and fixed earthen material on canvas, displays a contrast between a beautifully organic visual experience that contrasts with the raw materiality of the specific elements used to make the work that become more pronounced as you move closer to the canvas.  In this way, the viewer has to move in and out of the “world of the canvas” to obtain the overall aesthetic experience that it can and should provide to a willing audience.







In stark contrast to the incredibly raw, earthen sculptures and wall canvases of the earth works, Kapoor’s fiberglass hemispherical monochromes provide an extreme oppositional approach to a similar notion of optical experience.  The hemispheres are completely covered with solid bold colors that could not be more different form the earth tones that make up the earth works in the other rooms.  These works, however, are hung classically against the stark white walls of the gallery.  



To view them from the front, they appear to be vivid monochrome panels, two-dimensional discs that are suspended against a wall.  By walking to the side of the work, you see that they are, in fact, three-dimensional hemispheres that have an almost infinite quality when standing within their center.  




This creates new questions of perception and experience that again requires an active participation by the viewer and which brings into question deeper dualities:  matter and spirit, physical and optical, tangible and transcendental, evolutionary and transformative.