With a conception of art where spirituality and material aspect clashes, like a disorder or uncertainty measure that change the perception of things is how this homonym sample EMERGES, bringinig to the Corpartes hall Anish Kapoor (1954), Indian artist, but residing in London since the 70s.
Being one of the most important contemporary art exponent, he visited Chile along with the Bazilian curator Marcello Dantas, and urges (through nine of his pieces) to ask oneself the existence worth, understood as a figurative reality, where the void is as important or even more as the corporeality itself. A prerogative that the atrtist interprets with much more property, saying: “where there is matter, is the same place where there is nothing”.
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There is a knowledge expressed from a trance between mystic-shamanic, philosophical and even scientific, with which Kapoor takes us to the unusual, causing uncertainty to move everything from beginning to end, in a permanent sensation of subtle and “unstable stability”, which by the way activates that apparent game of psychic mirages that intermingle with the genuinely tangible ones, as experienced in Doble Vertigo (2012) with that sensation of facing the bifrontality of two curved mirrors, one in front of another, in a a kind of virtual cavern formed by both sheets of polished steel where, when deforming the perceptual order, a frame of visual discontinuity is created, with which it exhorts the spectator to assimilate the elusive presence of an image that product of the distortion breaks with the visible logic , generating a transfer of opposites that is also palpated in No object (Door – 1988), and much more visible, but at the same time very difer is in Dragon (1992), since taking advantage of the structure of 8 limestones, the artist in that eagerness to revert the objectual sensitivity of the visitor radically suppresses his density, applying a pigment that modifies his nature, making them seem as slight as simple sponges painted blue, a color that together with altering its composition, evokes both Yves Klein (IKB- International Klein Blue), and the god Krishna, which in Sanskrit means dark blue, granting them a mystical weightlessness that in itself shows us that all reality is reversible.
“Where there is matter, is the same place where there is nothing”.
In this way, the author unravels a profusion of material elements with which he relativizes the value of the tangible as it happens in Vacío (1993), where he uses fiberglass, wood and pigment to resort to the economy of form and achieve to sink into a black square that given its chromatic opacity, creates a space that is not such and that above its disturbing passivity, it projects magnetism and vertigo in unison, altering the sensory reality of the viewer with a phenomenon that fuses immersion and emptiness in an unexpected act.
Now, if surprises are dealt with in Disparando en la esquina (2008-2009), we see a Kapoor that proposes a work loaded with symbolism, where we have this cannon as a phallic element that shoots eleven kilos of red wax symbol of the blood and the earth to a suffering corner that is nothing other than the feminine figure that evokes the violation and violence exercised, not only for centuries, but for something that is happening live, before a group of undaunted witnesses who are promptly shaken for the unjust discharge.
But where the course of time and space surpass expectations is in Svayambhu (2017), since Kapoor interpreting its meaning in Sanskrit- “Autocreado”, by means of a large block of red wax that moves, approaches or moves away, creates an almost imperceptible traveling, that as it crosses a threshold it loses its original condition, in a ritual act that exemplifies how life is and its constant and defining change. Because as Marcello Dantas states: “Transformation is a ritual act within each one of us”.
In that tenor is that Surge is installed, with an author who problematizes different realities from his own confrontation with a dizzying materiality that connects us with a void that is not always evident, but that due to its ambiguous condition contains a surplus of worlds incalculable interiors and that here take shape even from the first moment with that preamble located in the esplanade of Corpartes and the installation of Órgano (2019), work created for Chile, bringing back the act of reparation of those Scottish engineers of Rolls Royce, which 1974 refused to make the maintenance of a Hawker Hunter, being identical to the bomber fighter that a year before destroyed the Palacio de la Moneda, and that the artist in a renewed symbolic act recreated from a turbine of the same fateful device, connecting himself also with our most recent historical memory.