Outdoors with Anish Kapoor
Arcelor Mittal Orbit http://www.arcelormittalorbit.com/images/hi-res/25_mediagallery_download.jpg This weekend’s screening of “New Form at the Farm: Anish Kapoor’s Dismemberment Site 1” at the Peabody Essex Museum chronicles Kapoor’s largest permanent outdoor sculpture to date at Gibbs Farm in New Zealand. But Dismemberment Site 1 isn’t his only large outdoor piece. In fact, the sculptor is well known for his large public works. We’ll share a few here, from the simple and remote The Eye in the Stone in the northern reaches of Norway to the mammoth and controversial ArcelorMittal Orbit, part of London’s 2012 Olympic Park. Many of Kapoor’s outdoor sculptures are what he calls “Mirror Objects.” The most famous of these is Cloud Gate, otherwise known as “The Bean,” in Chicago’s Millenium Park. Though Kapoor dislikes the work’s nickname, it is an extremely popular sculpture, drawing tourists and film crews alike. In fact, several Chicago-set films have used Cloud Gate since its completion, including Source Code (Duncan Jones, 2011), The Break-Up (Peyton Reed, 2006), and The Vow (Michael Sucsy, 2012). The work itself is shaped like a bean, and is highly reflective on all sides. Its shape allows visitors to pass under the sculpture, adding to the interactivity of the already reflective piece. On Kapoor’s website you can find some cool plans and drawings for the work, too. Other Mirror Objects include the various Sky Mirror pieces. These are both permanent and travelling pieces, concave mirrored discs often placed at an angle or hammered irregularly so that they both reflect and distort. These can be found permanently at The Nottingham Playhouse in England, and The Hermitage Museum in St. Petersburg, Russia. Other versions have appeared in exhibitions at the Rockefeller Center in New York, Kensington Gardens in London, and the Brighton Pavilion Gardens for the Brighton Festival in England. Last year a similar mirror object was attached to a wall at the Storm King Art Center, and one is currently in place as a part of Koelnskulptur 6 in Germany. Dismemberment Site 1, while similar to several of Kapoor’s other works (mostly indoor works, such as Marsyas at the Tate Modern 2002) is another beast altogether: huge and red and constantly changing in relation to perspective, it both complements the famous mirror objects and doesn’t merely reflect the landscape: it transforms it. Find out for yourself at Saturday’s screenings, 11am and 2:30pm.