Anish Kapoor has created a new work titled ‘A Brexit, A Broxit, We All Fall Down’. The work depicts an open wound representing the state of the political climate, in a divided country, which just a few years ago was a reasonably unified nation.
I can’t help but see it in terms of a depressive self – AK
The artwork, created for the Guardian, expresses the need to stand back and take stock of our control political situation. It illustrates just how fast a country can disintegrate into chaos. In our lifetime politics have seen The Poll Tax Riots, The anti-war demonstrations against the war in Iraq and now the Brexit fiasco. This could be by far the most serious threat to our well being, economy and democracy.
The graphic work a photoshopped collage utilises Kapoor’s fleshy red hues in order to create for want of a better medium a political cartoon.
Since the referendum in 2016 Kapoor has been an active opponent of Brexit recently stated, “We’ve allowed ourselves as a nation to enter a space of unknowing,” he told the i newspaper. “I can’t help but see it in terms of a depressive self.” He compared it to “self-harm”.
Anish Kapoor is one of the most influential sculptors of his generation. Perhaps most famous for public sculptures that are both adventures in form and feats of engineering, Kapoor manoeuvres between vastly different scales, across numerous series of work. Immense PVC skins, stretched or deflated; concave or convex mirrors whose reflections attract and swallow the viewer; recesses carved in stone and pigmented so as to disappear: these voids and protrusions summon up deep-felt metaphysical polarities of presence and absence, concealment and revelation. Forms turn themselves inside out, womb-like, and materials are not painted but impregnated with colour, as if to negate the idea of an outer surface, inviting the viewer to the inner reaches of the imagination. Kapoor’s geometric forms from the early 1980s, for example, rise up from the floor and appear to be made of pure pigment, while the viscous, blood-red wax sculptures from the last ten years – kinetic and self-generating – ravage their own surfaces and explode the quiet of the gallery environment. There are resonances with mythologies of the ancient world – Indian, Egyptian, Greek and Roman – and with modern times.
Anish Kapoor was born in Mumbai, India in 1954 and lives and works in London. He studied at Hornsey College of Art, London, UK (1973–77) followed by postgraduate studies at Chelsea School of Art, London, UK (1977–78). Recent solo exhibitions include Serralves Museum, Porto, Portugal (2018); ‘Descension’’ at Public Art Fund, Brooklyn Bridge Park Pier 1, New York, NY, USA (2017); Parque de la Memoria, Buenos Aires, Argentina (2017); MAST Foundation,Bologna, Italy (2017); Museo Universitario Arte Contemporáneo (MUAC), Mexico City, Mexico (2016); Couvent de la Tourette, Eveux, France (2015); Château de Versailles, France (2015) and The Jewish Museum and Tolerance Center, Moscow, Russia (2015). He represented Britain at the 44th Venice Biennale in 1990 with Void Field (1989), for which he was awarded the Premio Duemila for Best Young Artist. Kapoor won the Turner Prize in 1991 and has honorary fellowships from the University of Wolverhampton, UK (1999), the Royal Institute of British Architecture, London, UK (2001) and an honorary doctorate from the University of Oxford, UK (2014). Anish Kapoor was awarded a CBE in 2003 and a Knighthood in 2013 for services to visual arts. Large scale public projects include Cloud Gate (2004) in Millennium Park, Chicago, USA and ArcelorMittal Orbit (2012) in the Queen Elizabeth Olympic Park, London, UK.
Anish Kapoor has a new exhibition is at Pitzhanger Manor, London, until 18 August