I have a naughty schoolboy attitude’: Anish Kapoor reveals his latest epic creations | Culture
Artist Anish Kapoor will launch a career-spanning retrospective at London’s Hayward Gallery this week, featuring new large-scale installations and iconic works from his multi-decade career. The exhibition, which runs from June 16 to October 18, includes the debut of Ha Makom, a 31-part mountainous structure, and the return of signature pieces like Descent into Limbo. The show marks a return to the Southbank Centre, which originally hosted the artist’s first major UK exhibition in 1998.
The Preparation and Scope of the Retrospective
The upcoming exhibition at the Hayward Gallery is the result of extensive collaboration between Kapoor and outgoing gallery director Ralph Rugoff. To prepare for the show, Kapoor had a 1.5-metre-wide section of the gallery floor drilled out, a process commemorated by a concrete cylinder gifted to the artist by Rugoff. The studio complex in south London, a converted dairy factory, currently houses the production of these works, supported by a staff of 23, including studio assistants, office personnel, and stone masons.
Kapoor’s latest works, such as All of Nothing—a red inflatable of immense scale—and Ritual Expiation, continue his focus on physical spectacle. According to Rugoff, Kapoor’s process often involves tackling technically difficult projects, which the artist characterizes as a search for “ahhh” moments where viewers experience a specific, intended reaction to the art.
The UK government featured Anish Kapoor as one of nine artists on British passports in 2015, placing him alongside historical figures like William Shakespeare and John Constable.
Artistic Philosophy and Political Expression
Kapoor maintains a practice that bifurcates between market-friendly concave mirror paintings and gargantuan, non-commercial sculptures. He rejects the trend of “psychobiography,” or the practice of reading art strictly through an artist’s personal identity, describing such interpretations as a “disservice” to human consciousness. Despite this, he remains politically vocal, recently criticizing the UK government’s stance on pro-Palestine protests and expressing concern over global political trends.
The artist’s background informs his work, though he resists being defined by it. Born in Mumbai to a father of Hindu culture and a mother from an Iraqi-Jewish diaspora, Kapoor later emigrated to Israel at age 16 before settling in the UK in 1973. His new work, Ha Makom, utilizes a Hebrew term for “the place” that also serves as a name for God in kabbalistic language, reflecting his interest in overlapping spiritual and linguistic meanings.
Samantha Carter notes that Kapoor’s career-long tension between “freedom and control” serves as the core of his artistic identity. By choosing to exhibit both his most commercially successful mirror works and his challenging, void-based sculptures, he forces a confrontation with the institutional expectations of what constitutes “art.” His insistence on political engagement, even when it draws controversy, suggests an artist who views the gallery space as a site for provocation rather than mere display.
What May Happen Next
As the exhibition opens to the public, analysts expect a continuation of the polarized reception that has defined Kapoor’s career. Given his history of controversial installations, such as the 2015 Dirty Corner in Versailles, the Hayward show may spark further discourse regarding the intersection of large-scale public art, elitism, and political expression. The exhibition’s focus on both iconic voids and new, experimental structures could serve as a litmus test for how contemporary audiences perceive the role of the “radical” artist in a politically charged climate.
Frequently Asked Questions
Where is the exhibition held and what are the dates?
The retrospective is located at the Hayward Gallery in London and runs from June 16 to October 18.
What is the significance of the concrete cylinder in the studio?
The cylinder is a piece of the Hayward Gallery floor drilled out for the exhibition, gifted to Kapoor by director Ralph Rugoff to mark the artist’s 72nd birthday and their current collaboration.
How does Kapoor address his political views in his work?
Kapoor incorporates political themes through titles and large-scale collaborations, such as his work with Greenpeace on a North Sea gas rig. He also uses his platform to speak out against policies including voter ID laws, Brexit, and government restrictions on protests.
Is it possible for art to remain radical while functioning within the major gallery system?