Once again, the prestigious palace of Versailles has been invaded. After Jeff Koons, Takashi Murakami and Joana Vasconcelos it’s Anish Kapoor’s turn to impress the crowd. And he did.
The artist designed six spectacular installations all meant to impact the history and architecture left by Le Notre, the official Sun King’s gardener.
Anish Kapoor wants to create an opposition: the perfect and rigid site of Versailles versus the idea of chaos and death.
The first two pieces are reflecting the sky and deforming the crowd onto gigantic mirrors. What follows is a little more outstanding: an orifice, like a giant vagina comes out from the ground and faces the palace. A metaphor highly suggesting the cause of the downfall of Marie Antoinette, the King’s guillotined wife. As the viewers randomly walk down onto the next pieces they cannot ignore the phallus shaped organ and the red stones exploding from the grass. Red is Anish Kapoor’s color of choice, it’s the color of the flesh and he is using it repeatedly; he says by using this color he makes the body celestial.
The next two pieces are a dramatic liquid vortex and an informal gelatinous bood-red colored shape. Both installations play with the viewers and their nerves. The whirlpool is intimidating as the sound of the blackened swirl is frightening, the ground shakes under the feet and the strange red organ absorbs the viewer’s bodies as they can penetrate inside.
The provocation goes on with the last piece built inside the Jeu de Paume (at a 5 min walk from the castle). Clearly Anish Kapoor criticizes the French revolution, and condemns the violence of the state against its own citizens. A cannon projects against a white wall red wax and the sexual interpretation which the artist approaches is inevitable: “I am conscious of the controversy this piece could imply. The phallic shape of the cannon and the sexual tension coming from it. Remember that this room was filled with males representing a male dominant State”.
Dearraindrop is an artist collective. I can’t figure out how many members it has, but I know one is Joe Grillo. They make clothing with tons of optically intense patches and knitting. Seeing one is basically like looking through a prism at an optical illusion of a lava lamp. They also do seriously colorful installations and paintings.
Peter Nitsch’s latest photographic series, “Shophouses,” documents Nitsch’s trip to Bangkok, where he became fascinated with the way in which many Southeast Asian city dwellers live; combining their work and living spaces. In this project, Nitsch explored the diverse cultural and social mix of a rapidly urbanizing Thailand, in order to uncover the basic human qualities that connect his subjects to his work’s viewers.
Since Japanese photographer Kimiko Yoshida “fled [her] homeland to escape the mortifying servitude and humiliating fate of Japanese women, she seeks to take a feminist stance in protest against contemporary cliches of seduction” and the general stereotyped portrayal of women-hood. Her self portraits transform and that to her is the ultimate value of work.
busybuilding reeks of talent– talent to combine different mediums and make it work. Sure, lots of design firms can pull that off, but would you guess that busybuilding, with their impeccable English and streetwise ways would be centered in Athens, Greece? Taking from pop, punk, eco-friendliness, minimalist, EVERYTHING, busybuilding’s collection makes it impossible to right-mouse-click-save-as an adequate selection to represent just what they can create.
As the Fondation Cartier points out, ‘a Ron Mueck exhibition is a rare event.” His hyperrealistic sculptures are worked over carefully for countless hours. Thus new work is especially exciting. Mueck’s current exhibit at the Fondation Cartier introduces three new sculptures. Couple Under an Umbrella, featured here, illustrates Mueck’s style well. His amazingly lifelike sculptures are only betrayed as inanimate objects by their surreal size. The giant couple beside their creator makes for a bewildering sense of scale and reality. [via]