Aziz Art May 2016

A35-metre-high piece installed in
the Baltic Flour Mills in Gateshead,
England, before renovation began
there; and Marsyas (2002), a large
work consisting of three steel rings
joined by a single span of PVC
membrane that reached end to
# end of the 3,400-square-foot
(320 m2) Turbine Hall of Tate
Modern. Kapoor's Eye in Stone
(Norwegian: Øye i stein) is
permanently placed at the shore of
the fjord in Lødingen in northern
Norway as part of Artscape
Nordland. In 2000, one of Kapoor's
works, Parabolic Waters, consisting
of rapidly rotating coloured water,
was
shown outside the Millennium
Dome in London.
The use of red wax is also part of
his repertoire, evocative of flesh,
blood, and transfiguration. In 2007,
he showed Svayambh (which
translated from Sanskrit means
"self-generated"), a 1.5-metre
block of red wax that moved on
rails through the Nantes Musée
des Beaux-Arts as part of the
Biennale estuaire; this piece was
shown again in a major show at the
Haus Der Kunst in Munich and in
2009at the Royal Academy in
London.Some his work blurs the
boundaries between architecture
and art. In 2008, Kapoor created
Memory in Berlin and New York for
the Guggenheim Foundation, his
first piece in Cor-Ten, which is
formulated to produce a protective
coating of rust.Weighing 24 tons
and made up of 156 parts, it calls to
mind Richard Serra’s huge, rusty
steel works, which also invite
viewers into perceptually
confounding interiors.
In 2009, Kapoor became the first
Guest Artistic Director of Brighton
Festival. Kapoor installed four
sculptures during the festival: Sky
Mirror at Brighton Pavilion gardens;
C-Curve at The Chattri, Blood
Relations (a collaboration with
author Salman Rushdie); and 1000
Names, both at Fabrica. He also
created a large site-specific work
titled The Dismemberment of
Jeanne d’Arc and a performancebased
installation: Imagined
Monochrome.The public response
was so overwhelming that police
had to re-divert traffic around
Curve at the Chattri and exercise
crowd control.