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  • Provenance

    Gladstone Gallery, New York
    Acquired from the above by the present owner

  • Catalogue Essay

    Sensual, poetic, yet unsettling, Anish Kapoor’s Untitled (Tangerine) offers a multi-sensory experience, enticing the viewer as a gilded portal to another dimension. Since the late-1990s, Kapoor has created a body of concave mirrors that iterate upon the artist’s long-term investigations into both the phenomenological structure of experience and minimalist notions of the noncompositional. Viewed from a distance, the lacquered bronze and exquisitely fine-tuned surface of Untitled (Tangerine) projects a luscious golden reflection of the work’s immediate environment that is flipped upside down, distorted, and liquified. Despite the spiritual and meditative intonations of this work, the crimson backside of the reflective mirror and resulting reddish halo projected behind the piece, point to the artist’s ongoing exploration of the colour red indexical to the bodily realm. Like his iconic Cloud Gate in Chicago and Sky Mirror in Kensington Gardens, the present lot is at once intimate and imposing, implicating viewers as they become participants within the work’s undulating landscape.

    Throughout his diverse and ambitious practice, Kapoor’s works continuously pose nuanced questions concerning the viewer’s relationship to space, “one of the only truly abstract entities,” according to the artist. (Anish Kapoor in “Mythologies in the Making: Anish Kapoor in Conversation with Nicholas Baume,” exh. cat. Anish Kapoor: Past Present Future, Institute of Contemporary Art Boston, 2006, p. 52.) The concavity and mirror-effects of Untitled (Tangerine) employ concepts regarding infinity and void, spaces that the artist considers “transitional” and that “seem to be very active, to be in various states of becoming.” (Ibid.) It is this constant state of change that beckons viewers. As one approaches the work, the reflected image enlarges, playing with the viewer’s innate desire to fully take in or visually capture the complete image at a glance. As one crosses a certain focal threshold, however, the image suddenly implodes as the reflected objects deconstruct and become indecipherable. Drawing on the association of the mirror as a window into self-discovery and self-knowledge, Untitled (Tangerine) describes the competing forces between the centralised pull of the concave form and the outward expression of the mirrored surface. Kapoor explains, “what happens with concave surfaces is in my view, completely beguiling.” The artist clarifies that these surfaces “cease to be physical and it is that ceasing to be physical that I’m after.” (Ibid, p. 53.) Untitled (Tangerine) exists at a constant tipping point, rejecting a prescriptive idea of overt symbolism as a means of creating an environment within which viewers themselves can consider meaning.

    As an international artist born in India and educated at art schools in London during the late 1970s, Kapoor draws on the strategies of non-composition that strive for self-erasure popularised in Western cultures by Minimalist and Conceptual art. The meticulously polished mirror works demonstrates Kapoor’s commitment to eradicating all evidence of the artist’s hand through the work’s strict, geometric fabrication akin to minimalist tendencies. Kapoor’s auto-generative sculptures share an aversion to art as a process of self-expression with not only minimal art but also the Indian concept of self-manifestation. Untitled (Tangerine) references Svayambhu, a Sanskrit term describing that which is created of its own accord rather than by the hand of man. Kapoor affirms, “when the work leads the artist, the process is one of discovery… if I allow myself to excavate, to research, the process leads to meanings that could never have been logically imagined.” (Ibid, p. 39-40.) Nevertheless, Nicholas Baume elucidates that “noncompositional strategies never truly erase the artist, but rather elaborate the creative process as a complex interaction between subjective and nonsubjective elements.” (Nicholas Baume, “Floating in the Most Peculiar Way,” exh. cat. Anish Kapoor: Past Present Future, Institute of Contemporary Art Boston, 2006, p. 24-25.) In doing so, the work regards the myth of the self-made object as a crucial fiction while underpinning the creation of meaning as a fundamentally social act involving both artist and viewer.

    Considering the concurrent growth of Kapoor’s career and the advent of the internet and cyberspace, the experience of Untitled (Tangerine) furthermore captures aspects of the visual language of the digital era. Kapoor asks, “where does the internet reside? Where is that space? I suggest that it is an intermediary space that is between all sorts of things, residing seemingly nowhere, and it exists somewhere.” The uncertain status of the present work, as it morphs from one state to another, seamlessly warping and altering our surroundings, is deeply resonant with the contemporary language of digital representation. Based on neither the deep pictorial space of Renaissance perspective nor the empirical flatness of modernist abstraction, the space of Untitled (Tangerine) hovers in front of the object. David Joselit describes this as “the epistemology of the hyperlink: a displaced or virtual depth that is composed of multiplied surfaces.” (David Joselit quoted by Nicholas Baume, “Floating in the Most Peculiar Way,” exh. cat. Anish Kapoor: Past Present Future, Institute of Contemporary Art Boston, 2006, p. 26.) Ceaselessly innovating and negotiating our position within space, Kapoor continues to create internationally acclaimed work today while inviting viewers to self-reflect and participate in shiny, astonishing, alternate worlds.

  • Catalogue Essay

    感性、詩意而又撩人心絃,安尼施·卡普爾的作品帶來多重感官盛宴,仿若一扇鎏金大門,吸引觀者進入另一方天地。自1990年代末期起,卡普爾創作了一系列凹面鏡作品,反覆探討藝術家長期以來對於體驗之現象學結構以及非構圖性之極簡主義概念的研究。遠觀之,《無題 (橘红)》的漆面銅材與精細表面將周遭環境顛倒、扭曲、流動地折射出來,帶着一抹豐盈的金色反光。除卻此件作品於精神、冥想層面的語義,反光鏡背面的緋紅色及其投射在牆面的紅色光環無不指向藝術家對於紅色的持續探索。這些概念在卡普爾過往的許多作品中常出現,爲其理論的支柱。如同他其他知名的標誌性作品:芝加哥的《雲門》以及紐約的《天空之境》,本件拍品既寧靜怡人又宏偉壯觀,使得觀者成爲其作品跌宕起伏風景中的參與者。

    通過他多元且宏大的實踐,卡普爾的作品持續對觀者與空間兩者關係細膩入微地發問,於他而言,「這是唯一真正抽象的本質」。(「醞釀中的神話:安尼施·卡普爾與尼古拉斯·鮑姆對談」,展覽圖錄,《安尼施·卡普爾:過去,現在,未來》,波士頓當代美術館,2006年,第52頁)《無題 (橘红)》的凹面及鏡像效應採用了無窮與空虛的概念,營造藝術家稱之爲「過渡」且「似乎特別活躍,具有萬千可能」的空間。(同上)正是此種千變萬化的狀態引人入勝。當觀者靠近作品時,反射的圖像變大,激發其本能反應想要全然領會亦或是從視覺角度一窺堂奧、盡收眼底。當觀者超越某一聚焦臨界點之後,圖像隨着反射物的解構而瓦解,變得難以辨識。利用鏡面作爲自我探索與自我認知的窗口,《無題 (橘红)》描述了兩股力量之間的相互作用——凹面形式的聚集拉力與鏡像表面的外在表現力。卡普爾說到,「我認爲凹面非常具有迷惑性」,藝術家進而解釋說這些表面「不再符合物理法則,而這正是吸引他的地方。」(同上,第53頁。)《無題 (橘红)》處於一個永恆的臨界點,拒絕明顯象徵主義的規範思路,從而營造一個觀者可以自由思考其中意義的環境。

    出生於印度,於1970年代末在倫敦接受藝術教育,並現已成為國際知名藝術家,卡普爾善用印度哲學與非構圖性策略,該策略受極簡主義與觀念藝術影響,力求自我抹除,於西方文化中廣爲流行。透過作品類似極簡主義傾向的精確幾何製作,精心打磨的光滑圓盤呈現卡普爾消除所有手作痕跡的決心。卡普爾這看起來一體成型的雕塑作品,體現其對於藝術作爲體現自我的反抗,這不僅存在於極簡主義藝術,也印證於印度文化中關於自我的概念。《無題 (橘红)》引用梵語自生者(Svayambhu),意爲自然而然而非通過人手創造而成。卡普爾繼而斷言,「當作品引導藝術家時,這是一個探索的過程...如果我放任自我去挖掘、去研究,這個過程將引向邏輯無法想象的意義。」(同上,第39至40頁。) 然而,尼古拉斯·鮑姆解釋「非構圖性策略從未真正消除藝術家的痕跡,而是將創作過程周密發展爲一個主觀性與非主觀性元素的複雜互動過程。」(尼古拉斯·鮑姆,「以最非同尋常的方式漂浮」,展覽圖錄,《安尼施·卡普爾:過去,現在,未來》,波士頓當代美術館,2006年,第24-25頁。)以此種方式,該作品將自制物品視爲至關重要的虛構,反而支持了創造意義作爲牽涉藝術家和觀者雙方的基本社會行爲。

    卡普爾藝術事業的發展與互聯網及網絡空間的到來並駕齊驅,《無題 (橘红)》的體驗更爲深入地捕捉住數位時代的視覺語言。卡普爾詢問,「互聯網存在於何處?那個空間在哪裏?我認爲它是一個無處不在的中介空間,似乎居無定所,卻又有跡可循。」本件拍品變幻出不同形式的無常狀態,天衣無縫地扭曲並改變周遭環境,與數位影像的當代語彙產生強烈共鳴。《無題 (橘红)》的空間既非立足於文藝復興透視法的景深維度,亦非基於現代主義抽象的實證扁平化,它懸浮於物體面前。大衛•喬斯利特將此形容爲「超鏈接的認識論:由多重表面組成的置換或虛擬深度。」(大衛•喬斯利引自尼古拉斯·鮑姆,「以最非同尋常的方式漂浮」,展覽圖錄,《安尼施·卡普爾:過去,現在,未來》,波士頓當代美術館,2006年,第26頁。) 馬不停蹄地創新並超越我們於空間中所存在之處,卡普爾持續創作揚名國際的作品,邀請觀者進入熠熠生輝、令人驚歎的異世界。

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Property of a Canadian Collector


signed, inscribed and dated 'Anish Kapoor 2014 Anish Kapoor 2014' on the reverse
bronze and lacquer
134.3 x 134.3 x 21.9 cm. (52 7/8 x 52 7/8 x 8 5/8 in.)
Executed in 2014.

HK$4,500,000 - 5,500,000 

sold for HK$4,300,000

Contact Specialist
Jonathan Crockett
Deputy Chairman, Asia and Head of 20th Century & Contemporary Art, Asia
+852 2318 2023

Isaure de Viel Castel
Head of Department
+852 2318 2011

Sandy Ma
Specialist, Head of Evening Sale
+852 2318 2025

20th Century & Contemporary Art Evening Sale

Hong Kong Auction 25 November 2018