Lisson Gallery

Anish Kapoor at the Gallerie dell'Accademia and Palazzo Manfrin, Venice

20 April 2022

Open from today at the Gallerie dell'Accademia di Venezia and the historic Palazzo Manfrin, a major exhibition by Anish Kapoor, curated by Rijksmuseum Director Taco Dibbits, powerfully reveals the full, visionary range of Kapoor’s practice, his painterly sensibilities and sculptural prowess.

At the Gallerie dell’Accademia Kapoor presents work from his seminal body of early pigment sculptures 1000 Names and Void works – through to never-seen-before sculptures created with Vantablack, a ground-breaking nano-technology material, a substance so dark that it absorbs more than 99.8% of visible light.

The skin of the object as veil between the inner and outer world has always been a potent presence in the artist’s practice, and here at the Gallerie dell’Accademia, sculptures made with Vantablack push this dynamic into radical new territory, in forms that both appear and disappear before our eyes. In these works Kapoor proposes that if the motif of the fold in Renaissance painting was a sign of being, in their obliteration of the contour and edge we are offered nothing less than the possibility to go beyond being.

More unknown forces emerge through a further series of mysterious black works, some embedded in the wall of the gallery, that further explore darkness as a physical and psychic reality. Alongside these works Kapoor’s most recent paintings are strongly debuted, setting up a dynamic dialogue with both the Gallerie’s art historical collection, and his own sculptural language.

The motif of the skin and the fold is further explored through a spectacular, site-specific inflatable work HOWL (2020), that colonises the courtyard, and Pregnant White Within Me (2022), a giant bulge that distends the architecture of the gallery, suggesting a re-drawing of the boundaries between body, building and being. Kapoor commits various sacrilegious acts of shooting at, or cutting into the Accademia’s hallowed walls, turning the very fabric of the gallery inside out.

This second venue of Anish Kapoor’s dual exhibition begins with the monumental new work Mount Moriah at the Gate of the Ghetto (2022), protruding from the ceiling of the entrance hall and created specifically for the partially renovated spaces of Palazzo Manfrin. This pendulous mass of silicone and paint guides visitors through to an equally challenging set of rooms featuring a triptych of similarly seething, silicone paintings, Internal Objects in Three Parts (2013–2015), as well as many influential works from Kapoor’s long and prestigious career, including the iconic pigment work White Sand Red Millet Many Flowers (1982)

Further into the show, a series of mirror works flip and distort the viewer’s expectations of what is before us. Heaven, hell, earth and sea are all invoked, mixed and inverted in public-scale, mechanised works such as the spinning red waters of Turning Water Into Mirror, Blood Into Sky (2003) and Destierro (2017), in which a monochrome blue digger transports tonnes of red earth in an epic display of displacement. Colour for Kapoor is a condition, immersing the viewer in the weight of its saturation, allowing colour to enact its transformational potential. Subtleties of Venetian light are at play in ethereal, geometrical works carved from natural alabaster while the deep, lagoon blue pigment of Kapoor’s early void hemispheres provide moments of meditative respite.

Many more spaces connect back to themes at the Gallerie dell’Accademia, with spiritual moments and rites of passage expressed in Kapoor’s unique visual language. All roads lead to the central installation of a setting (or rising) sun, which hovers over a mass of spent red wax as it aggregates on the palazzo floor, submerging the historic venue in the primal stuff of life and death.

The exhibition has been organised in collaboration with Anish Kapoor Studio and Lisson Gallery, with support from Galleria Continua, Galleria Massimo Minini, Kamel Mennour, Kukje Gallery, Regen Projects and SCAI The Bathhouse.

Supported by LG OLED.

The exhibition is accompanied by a catalogue published by Marsilio with essays by: Gil Andijar; Homi K.Bhabha; Linda Borean; Giuseppe Civitarese; Mario Codognato; Waldemar Januszczak; Norman Rosenthal; Carlo Rovelli and Michele Tavola.

The exhibition runs from 20 April – 9 October 2022. Find further information via Gallerie dell'Accademia.

Image: Anish Kapoor at Gallerie dell'Accadmia © Anish Kapoor. All rights reserved DACS/SIAE, 2022. Photography by David Levene. Courtesy the artist and Gallerie dell’Accademia di Venezia.

Anish Kapoor at the Gallerie dell'Accademia and Palazzo Manfrin, Venice
Click here for more Museum Exhibitions
We use cookies on our website to improve your experience. You can find out why by reading our privacy policy. By continuing to browse our site you agree to our use of cookies Privacy Policy