2 layher towers, pvc red dropcurtain
Courtesy the artist
Like Paladino and Paolini, Anish Kapoor [Bombay, 1954] interacts with the square starting from the centre, choosing a stately structure that can relate to the surrounding space. Among the projects displayed at piazza grande this is undoubtedly the most impressive one from the architectural point of view: if you look at the installation from the front it appears divided into two sections, while if you look at it from the sides it creates a tangible contact between the Royal Palace and the basilica of St Francis of Paola. Already exhibited at the Baltic Museum of Gateshead (Newcastle), in Taratantara we find the main theme that recurs in the works of this artist of Indian origins: the osmosis between the inside and the outside of the work, the impenetrable mystery and what lies beneath.
Two imposing layher towers support a giant red pvc sheet, whose texture resembles velvety rubber; they cover a large surface (50 metres long, 35 metres high and large) and mark off a “place” that is both a physical and a psychic place and has two openings: one facing Monte di Dio, the other facing the sea. The end result is stunning and fascinating at the same time; the work lends itself to countless interpretations, and numerous analogies: it calls to mind a bridge, a tunnel, an enormous bow tie, a kite, a giant kaleidoscope. With rare poetic intensity Kapoor changes the face of the square dramatically using the technique of a “painter that works as sculptor” (as Kapoor defines himself).
One of the protagonist of English sculpture in 1980s, with his piece for piazza Plebiscito the artist born in Mumbay in 1954 and bred in London confronts us with the ambiguity of emptiness, the mysteries hiding within cavities. Forbidding the access inside the sculpture, Kapoor forces us to peer into it to discover the empty interior. Kapoor was awarded a prize at the Venice Biennial in 1990 and the Turner Prize in 1991. A leading exponent of the new English sculpture, with his reflecting metal sculptures, with the series A thousand names (the hollow stones), and the typical pigments of Indian decorative tradition, he successfully oscillates between solidity and transparency, geometry and organicity, fullness and emptiness. Always sailing the infinite seas offered by art in an original way.
«I’m thinking about the mythical wonders of the world, the Hanging Gardens of Babylon and the Tower of Babel. It’s as if the collective will comes up with ...
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