Anish Kapoor -

Anish Kapoor, Mirror (Black), 2014, aluminum and paint, 86 5/8 × 86 5/8 × 18 1/2 inches (220 × 220 × 47 cm) © Anish Kapoor. Photo by Dave Morgan

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Opening reception: Monday, 12th September, from 6:00 to 8:00pm

The skin, the outermost covering, has always been for me the place of action. It is the moment of contact between the thing and the world.
—Anish Kapoor

Gagosian is pleased to present Anish Kapoor’s first solo exhibition with the gallery and his first in Hong Kong.

In sculptures made during the last ten years, the primacy of materials and their qualities in Kapoor’s process is revealed, whereby worlds are created in which geometric formulae are filled and emptied in three dimensions. Minerals in rare hues and highly polished metals provide his anthropomorphic forms with an ineluctable opulence.

In his monumental sculptural practice, Kapoor conflates concave and convex, inside and outside, upright and inverted. In the works in the exhibition, he explores and achieves the same tensions on a more intimate scale. Nestled in corners or placed on the floor, these sculptures feel almost familiar. Viewers entering the gallery share their space and their gravity. Yet, despite the appeal of their colors and textures, and the intimation of their weight, the sculptures resist approach. Curved mirrors of stainless steel and aluminum, mounted on the wall or free-standing, distort the viewer’s reflection and unsettle, or even liquefy, the slabs of carved stone that rest solidly on the floor. The effect is one of incomprehensibility without apparent reason—as if the rules of physics are being broken, but there is no way to prove it.

In Gossamer (2015), a large piece of pink onyx finely carved into a stretched ellipse, the inward-curving hole at the center creates the illusion of a deepening void. In a display of material mastery, Kapoor generates the same sensation in surfaces as disparate as cloudy gray alabaster and dazzling fiberglass and gold. Whether encountering the dark seams of Kapoor’s forms folding in on themselves, or, as is with Vertigo (2006), one’s own reflection is multiplied within a warped architecture, there is a consistent sense of having entered a space that is at once natural, artificial, and alchemical.

Anish Kapoor was born in 1954 in Mumbai, and lives and works in London. His work is featured in public collections including Museum of Modern Art, New York; Hara Museum of Contemporary Art, Tokyo; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; Moderna Museet, Stockholm; Museo National Centro de Arte Reina Sofia, Madrid; San Francisco Museum of Modern Art; Stedelijk Museum, Amsterdam; Tate Modern, London; Tate Britain; Tel Aviv Museum of Art; and Walker Art Center, Minneapolis.

Selected solo institutional exhibitions include “Anish Kapoor: Marsyas,” Unilever Commission for the Turbine Hall, Tate Modern, London (2002); “My Red Homeland,” Kunsthaus Bregenz, Austria (2003, traveled to Centro de Arte Contemporáneo, Malaga, Spain in 2006); “Anish Kapoor: Ascension,” Centro Cultural Banco Do Brasil, Rio De Janeiro, Brazil (2006, traveled to Centro Cultural Banco Do Brasil, Brasilia; Centro Cultural Banco Do Brasil, São Paulo); Sky Mirror, Public Art Fund, Rockefeller Center, New York (2006); Haus der Kunst, Munich, Germany (2007); “Anish Kapoor: Past, Present, Future,” Institute of Contemporary Art, Boston (2008); “Anish Kapoor: Memory,” Deutsche Guggenheim, Berlin (2008, traveled to Solomon R. Guggenheim Museum, New York in 2009); National Gallery of Modern Art, New Delhi (2010); Guggenheim Bilbao, Spain (2010); “MONUMENTA 2011: Leviathan,” Grand Palais, Paris (2011); Leeum—Samsung Museum of Art, Seoul, Korea (2012); Museum of Contemporary Art, Sydney, Australia (2012); Sakip Sabanci Museum, Istanbul (2013); Martin-Gropius-Bau, Berlin (2013); and Chateau de Versailles, France (2015).

“Anish Kapoor. Archaelogy: Biology” is currently on view at the Museo Universitario Arte Contemporáneo, Mexico City, Mexico until November 27, 2016.

Public commissions include Cloud Gate Millennium Park, Chicago (2004); and Turning the World Upside Down, Israel Museum, Jerusalem (2010). ArcelorMittal Orbit (2012) is permanently installed at Queen Elizabeth Olympic Park, London.

For further information please contact the gallery at [email protected] or at +852.2151.0555. All images are subject to copyright. Gallery approval must be granted prior to reproduction.

Please join the conversation with Gagosian on Twitter (@GagosianAsia), Facebook (@GagosianGallery), Google+ (@+Gagosian), Instagram (@GagosianGallery), Tumblr (@GagosianGallery), and Artsy (@Gagosian-Gallery) via the hashtags #AnishKapoor  #GagosianHongKong.


開幕酒會: 9月12日晚上6時至8時

我認為人體最外層的皮膚是充滿動感的地方,見證事物與世界接觸的時刻。—安尼施‧卡普爾(Anish Kapoor)






卡普爾曾於多間美術館舉行個展,包括倫敦泰特現代藝術館渦輪大廳聯合利華藝術委員會展覽「Anish Kapoor: Marsyas」(2002年)、奧地利布雷根茨美術館「My Red Homeland」(2003年,2006年巡展至西班牙馬拉加當代藝術中心)、巴西里約熱內盧巴西銀行文化中心「Anish Kapoor: Ascension」(2006年,其後巡展至巴西利亞及聖保羅巴西銀行文化中心)、紐約洛克菲勒中心公共藝術基金會「Sky Mirror」(2006年)、德國慕尼黑藝術之家(2007年)、波士頓當代美術館「Anish Kapoor: Past, Present, Future」(2008年)、柏林古根漢美術館「Anish Kapoor: Memory」(2008年,2009年巡展至紐約所羅門‧R·古根漢美術館)、新德里國立現代美術館(2010年)、西班牙畢爾包古根漢美術館(2010年)、巴黎大皇宮美術館「MONUMENTA 2011: Leviathan」(2011年)、韓國首爾三星美術館(2012年)、澳洲悉尼當代藝術博物館(2012年)、伊斯坦堡薩基普‧薩班哲博物館(2013年)、柏林馬丁葛羅皮亞斯展覽館(2013年),以及法國凡爾賽宮(2015年)。

墨西哥當代藝術博物館現正舉行「Anish Kapoor. Archaelogy: Biology」展覽,展期至2016年11月27日。

其他受邀創作的公共作品包括芝加哥千禧公園《雲門》(Cloud Gate)(2004年),以及耶路撒冷以色列博物館《顛倒世界》(Turning the World Upside Down,)(2010年)。《軌道塔》(ArcelorMittal Orbit)(2012年)於倫敦伊莉莎白女王奧林匹克公園永久展出。

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Gagosian was established in 1980 by Larry Gagosian高古軒由拉里•高古軒(Larry Gagosian)於1980年創立