安尼施卡普尔-《蓝色的圣歌》

安尼施卡普尔-《蓝色的圣歌》

Anish Kapoor

The Chant of Blue

1983

Polystyrene, resin, gesso and pigment in four parts

Three pieces 61 x 61 x 61 cm, one piece 76 x 76 x 76 cm

安尼施•卡普尔

蓝色的圣歌，1983

聚苯乙烯，树脂，石膏和不同颜色分为四部分

三件 61 x 61 x 61cm,，一件76 x 76 x 76cm

安尼施•卡普尔的雕塑或用石块儿砍制，或用抛光的钢材制成。他能使浅浅的凹坑看起来像无底深渊，孔洞看起来像固体表面。1992年，当他在卡塞尔文献展（Documenta）展出《坠入地狱》（Descent into Limbo）(1992年)时，观众所面对的是一个看起来像圆形地毯的黑色深洞。卡普尔雕塑的力量在于我们对空气与物质、实在与虚无之间界限的不确定性，陷入了对未知世界极度的恐惧之中。

卡普尔在早期的作品中使用颜料，扭曲了他正在创作的雕塑的轮廓。从深红色到深蓝色，他所使用的或浓重或柔软的颜色就像吸收了作品周围的光线。1979年，卡普尔首次在他的雕塑中使用粉状颜料，明显参照了他的家乡印度胡里节(Holi Festival)上的仪式表演。最早的作品使用白垩和颜色的匀称组合。在1983年他制作《蓝色的圣歌》（The Chant of Blue）之前，卡普尔把颜料铺在看起来像奇怪的矿物或植物状的聚苯乙烯塑料或玻璃纤维上。它们是另一个世界的东西，像从遥远的世界带回的陨星或者样品，如此的怪异，似乎是极度神秘的象征。卡普尔曾经说，艺术家不创作物品，他们在制造神话，而且当我们观赏一个艺术品时，我们看到的是艺术家工作所在的神秘环境。卡普尔所在的时代环境包括伟大的极简主义(Minimalism)雕刻家唐纳德•贾德（Donald Judd）和卡尔•安德烈（Carl Andre）,这两位雕刻家是他1970年代在弘赛艺术学院(Hornsey College of Art)和切尔西艺术学院（Chelsea School of Art）求学时认识的。激励他并在他的雕塑作品中持久存在的是极简主义的概念，即：物品有它自己的语言，不会受到创作者历史或观众解释的限制。结果形成了似乎包含宇宙秘密的一种形式。

杰西卡•莱克

Anish Kapoor

Anish Kapoor’s sculptures may be hewn from blocks of stone or made of polished steel, yet he can make shallow depressions look like bottomless pits, and holes look like solid surfaces. In 1992, when he exhibited Descent into Limbo (1992) at Documenta in Kassel, audiences were confronted by a black hole that looked like a circle of carpet. The power of Kapoor’s sculptures lies in our uncertainty as to the boundaries between air and matter, solid and void, tapping into a primal fear of the unknown.

Kapoor’s use of pigment in his early sculptures distorts the contours of shapes he is creating. From deep crimson to cobalt blue, his intense and velvety colours appear to suck up the light around them. Kapoor first began using powdered pigment in his sculptures in 1979, a clear reference to the ritual performances of the Holi festival in his native India. By the time he made The Chant of Blue, in 1983, Kapoor was layering the pigment onto polystyrene or fibreglass shapes that looked like strange mineral or plant forms. They were otherworldly, like meteorites or specimens brought back from some distant world, and so alien that they seemed symbolic of a great mystery. Kapoor has said that artists don’t make objects, they make mythologies, and that when we look at a work of art we are seeing the mythological context in which the artist is working. Kapoor’s context includes great Minimalist sculptors such as Donald Judd and Carl Andre, whom he discovered while studying at Hornsey College of Art and Chelsea School of Art in the 1970s. What had excited him, and what endures in his sculptures, is the Minimalist concept that an object has a language of its own, unconstrained by the history of the maker or the viewer’s interpretation. The result is a form that appears to contain the secrets of the universe.

Jessica Lack