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ANISH KAPOOR - My Red Homeland


Courtesy: CAC Málaga & Lisson Gallery

On the 26th January just passed, I interviewed Anish Kapoor in Malaga. We discussed, among other things, the boom of contemporary Indian art in western countries. With a certain irony, he told me that Indian artists were becoming better and better every day “for they are less concerned about the fact of being Indian than rather about the other fact of being an artist.”

In the CAC in Malaga the following day he opened the exhibition "My Red Homeland". . A monumental installation being composed of 25 tons of red Vaseline and a huge round container in which the Vaseline was placed, dominated and gave title to this exhibition. A metal arm connected to a hydraulic motor and revolving around its centre – like the hand of a gigantic watch – pressed and thrusted the red Vaseline in a slow and silent continuing act of creation and destruction. A series of small, likewise red-coloured sculptures and pictures completed the show that is on display until April 30th.


Courtesy: CAC Málaga & Lisson Gallery

Anish Kapoor

Although the title of the exhibition “My Red Homeland” could potentially refer to his Indian birthplace, it actually refers to a much different field, namely: “my inner homeland”. As he explained on the day of opening, “I have always thought of the colour red as a colour of the centre, like a path to emotional exploration”. Red is the colour of blood, of passion and emotion; red is the colour of meat, here turned into wax and Vaseline – organic but imperishable. The red colour is thus more than just a simple connection between the works that have shaped this exhibition – furthermore, it assumes a fundamental role in the sculptures of Anish Kapoor, one of the most important sculptors of contemporary art. From his first sculptures – simple geometrical or biomorphic forms coated in pigments – to his latest work formed from metal, wax and Vaseline in which the monochromatic effect creates a never-ending optical illusion, the application of colour indicates a constant in his works: the search for Immateriality and Spirituality.

The beholder here is invited to immerse himself in the endlessness of the round, reflecting forms, in the artist’s unsettled red paintings and the silent, slow and continuing motion of “My Red Homeland” – works in which the object of his state is recognised, and a powerful spiritual meaning arises. “I have always tended towards the non-material, the non-object, the uncertain. As an artist, I have really nothing to say. Otherwise, I would have become a journalist. But I want to invite to a search,” he said at the opening Press Conference. One comes to an uncertain universe, in which words are no help, – such as in view of fire, the sky and the sea - and of great works of art - the audience can linger in an undefinable contemplation. I suppose that it is his goal to provoke these kinds of emotions, when Anish Kapoor spoke of “worrying about being an artist.”

Text: Raúl Martínez Fernández
Translation Georgia Fox

www.cacmalaga.org

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