A handful of artists transcend the parameters of the gallery to operate in the culture at large. To my mind, Indian-born Anish Kapoor is one of these chosen few. Leviathan in both the physical and psychological senses, his monumental installations engage the macro of public space and the micro of the viewer’s most intimate sense of self. I remember walking into the Tate Modern’s cavernous Turbine Hall and being dumbstruck, even gob-smacked by the sheer impact of his visceral red Marsyas sculpture, in 2002.
So, you can imagine how excited I am about the upcoming exhibition of Anish Kapoor’s work – the first of its kind – at the MCA (opening December 20th). So excited, in fact, that I actually couldn’t wait and had to get a sneak peak at the works in progress. Here are some shots of his site-specific piece. It, and several other key works including the very early powder-pigmented 1000 Names, the gargantuan My Red Homelands (2003) and the 24-ton Memory (2008), pictured, which will totally occupy one of the massive MCA galleries, appearing to extrude the walls, shall be on show at what must be, hands-down, one of this country’s most discerning homes of contemporary art.
Kapoor has famously said “Artists don’t make objects. Artists make mythologies.” – and this is one Odyssey that is simply not to be missed.