Anish Kapoor is such a hack….latest Biennale exhibition and he’s still banging on about Vantablack and his beef with Stuart Semple, even ripping off his work AND insulting him.
Really at this point I can’t work out how Anish got famous, there’s not really much there is there? I do find it funny that Stuart is selling a replica version of his work called Biennale In A Box…I suspect this beef will…
Born in Germany in 1961, Katharina Grosse has endeavoured since the late 1990s to make her very personal painting practice a powerful contributory tool to transform the world. Her often spectacular expansive works explore the potentialities of painting, well beyond the boundaries of a frame or canvas, embracing floors, walls, ceilings, objects or entire landscapes to create multidimensional pictorial sites. All her installations immerse visitors in a sea of colour that challenges and disrupts their sensory and physical perceptions. In 2013, Grosse began broadening her artistic scope by printing photographs on fabrics, like polyester and silk. In a dynamic dialogue with the architecture, her wall-sized prints – as seen at China’s chi K11 art museum in Shanghai (2018) or, most recently, at Finland’s HAM Helsinki Art Museum (2021) – display an imagery related to her painting practice, such as photos of her paintings, studio views or her paint-steeped hands.
From May this year, her work will be shown in Fugues in Color exhibition at Fondation Louis Vuitton in Paris; and this autumn, an original work commissioned by the Fondation in dialogue with Frank Gehry’s architecture will be installed on-site. Specifically created for Espace Louis Vuitton Venezia, in a black setting largely covering the floor and the wall, Apollo, Apollo features a compositive image of the artist’s hands printed on a metallic mesh fabric, depicting a moment where the boundaries between the artist’s body and the coloured material blur in the act of creating. In the words of Katharina Grosse: “The image is chosen from a series of photographs showing situations or actions, connected to my painting practice in some way or another. […] It oscillates between surface, texture, image and object, order and disorder, destruction and creation, tension and release, forced and freeflowing movement.“
In the Venetian context and imaginative world – Fortuny fabrics, Terrazzo mosaics, omnipresent water and reflections – the metallic fluidity and hued intensity of Apollo, Apollo (a title that works as a mantra with polysemic connotations and condenses and combines mythology with the conquest of space) take on special resonance here. The surface reflects visitors’ movements and contributes to the quintessentially Venetian mirror effect. Apollo, Apollo blends the transparent with the opaque, letting light filter through, creating a gateway to a dreamlike world in which visitors question their own perceptions of reality and illusion.
Katharina Grosse was born in 1961 in Freiburg im Breisgau, Germany. She lives and works in Berlin and New Zealand. Since the end of the 1990s, she has been renewing the pictorial medium by intervening directly on the architecture of the institutions that welcome her, making the spray gun her favourite tool. More recently she has developed her works further by painting on expansive drapes or printing photographic images on very large sheets of fabric in a mise en abîme of her practice.
From: Carlos Amorales, Life in the folds, (Catalogue), Curated by Pablo León de la Barra, Mexican Pavilion at La Biennale di Venezia, 57th International Art Exhibition, ‘Viva Arte Viva’, Venezia, May 13 – November 26, 2017 (pdf here). Designed by Iván Martínez López
