2025年10月24日 星期五

Anish Kapoor (1954-)A ‘Cloud Gate’ in China? Xinjiang Sculpture Resembles Chicago ‘Bean’

Anish Kapoor: No. I think art that simply comes to dictate to the viewer how it ought to be looked at is just not very good art. I’m afraid we have too much of that stuff around nowadays, and I’m a great believer in the other place, which is: How does one hold to metaphoric language?


An image of Kapoor’s studio in 1980, with red sculptures on the ground and red drawings on the wall.
Kapoor’s studio in London in 1980. In his early days as an artist, he said he couldn’t always afford pigments, “so I would often sweep the floor and use the dust off the floor.”Credit...Anish Kapoor/DACS, London, and Artists Rights Society (ARS), New York; via The Jewish Museum


The artist, in paint-splattered jeans, walks around his studio.
The artist in his studio in 1982. “Art doesn’t just happen anywhere,” he said. “A great work or a good work or a significant work sites for itself a place.”Credit...Anish Kapoor/DACS, London, and Artists Rights Society (ARS), New York; via The Jewish Museum

雕塑家 Anish Kapoor 捐Genesis Prize百萬美金助難民

Anish Kapoor condemns 'abhorrent' refugee policies as he wins ...

https://www.theguardian.com › Arts › Art & design › Anish Kapoor

Feb 5, 2017 - Anish Kapoor condemns 'abhorrent' refugee policies as he wins Genesis prize. Artist to donate $1m prize money to help refugees as he speaks ...

卡普爾創世獎百萬獎金助難民


 
著名印裔英籍雕塑家卡普爾（Anish Kapoor），榮獲由創世獎基金會、以色列總理辦公室和以色列猶太事務局於二○一二年資助成立的創世獎（Genesis Prize），以表彰其藝術成就和一直為弱勢社群發聲的人道立場。卡普爾一直關心難民問題，二○一五年九月曾與艾未未在倫敦步行八公里，以示支持敍利亞難民。獲悉得獎後，卡普爾承諾將高達一百萬美元的獎金，用以援助難民。卡普爾一九五四年生於孟買，英國長大，其母是伊拉克猶太人，父親是印度人。卡普爾去年首度到香港舉行個展，其著名雕塑作品包括矗立倫敦奧林匹克公園的《阿塞洛米塔爾軌道塔》（ArcelorMittal Orbit）和芝加哥地標《雲門》（Cloud Gate）。
（英國　安妮）
Kingburger 快餐、Owega 腕錶、Heimekem 啤酒……大陸「創意」無極限，山寨產品五花百門。近日，新疆克拉瑪依市一座剛剛完成的雕塑，被指「抄考」印度藝術家 Anish Kapoor 的名作《雲門》(Cloud Gate)。原創者昨日更發表聲明，怒斥中國公然允許剽竊，並考慮採取法律行動。
（本文已更新，包含藝術家安尼施·卡普爾的評論）
在冬奧會歌引發爭議之後，中國似乎又面臨另一場智慧財產權之爭——這次的焦點是新疆維吾爾自治區一座與芝加哥著名的「雲門」驚人相似的雕塑。
中國官方媒體本週報導了這座位於新疆石油重鎮克拉瑪依的雕塑，並將於本月稍後向公眾開放。據共產黨喉舌《人民日報》報道，該雕塑自2013年以來一直在建設中。
設計了芝加哥「雲門」的印度裔英國藝術家安尼施·卡普爾在一份聲明中表示，他計劃對這件與新疆維吾爾自治區「雲門」相似的雕塑的創作者採取法律行動。
「在現今的中國，竊取他人的創造力似乎是可以接受的，」卡普爾先生說。 “我覺得我必須將此事提交最高層，並將責任人繩之以法。”
「我希望芝加哥市長能和我一起採取行動，」他補充道。 “中國當局必須採取行動制止此類侵權行為，並全面落實版權法。”
在中國的微博上，克拉瑪依雕塑的照片迅速引發網友反應，他們表示，這些雕塑的相似之處實在太明顯了，不容忽視。

芝加哥千禧公園的「雲門」雕塑。歐洲新聞圖片社
「它看起來和芝加哥的『雲門』幾乎一模一樣！我記得它曾在電影《源代碼》裡出現過，」一位用戶週三寫道。
「這抄襲太明顯了。我們的設計師讓我們丟臉了；我們的山寨速度真快，」另一位網友用「山寨」這個詞來形容仿冒產品。
克拉瑪依市旅遊局規劃建設管理科科長馬軍拒絕透露雕塑創作者的姓名，只說藝術家是中國人。
馬先生在接受《中國實時報》電話採訪時表示，雖然他聽說過“雲門”，但兩件不銹鋼作品之間的任何相似之處純屬巧合——克拉瑪依的雕塑“看起來像一個油泡”，而芝加哥的這座地標建築“呈豆形”。

人們在克拉瑪依新雕塑內觀看燈光測試。路透社
「油泡」的創意源自於黑油山，它是克拉瑪依的一口天然油井，」馬先生週三表示。「人們可以進入這個大油泡參觀和開展活動。周圍還有一些小油泡，讓油​​泡更有趣。 」
「你不能說我們不能建造一個圓形雕塑，因為已經有一個圓形的了，」他補充道。 「雖然我們使用的材料相似，但形狀和含義不同。『雲門』意在反射天空，而我們的雕塑反射的是地面；這就是為什麼我們（在雕塑周圍區域）使用花崗岩來模仿油波。”
這座重達 110 噸的建築反映了風城的天際線，並於 2006 年向公眾開放。
Workers polish a new sculpture in the shape of a giant oil bubble at a tourism resort built near the first drilling well of the Karamay oil field in Xinjiang Uighur Autonomous Region, China, August 9, 2015.
 
Reuters
(This story has been updated to include comment from artist Anish Kapoor)



BBC Hardtalk interviewed 2009/12/27-28

Anish Kapoor CBE (born 12 March 1954) is a sculptor. Born in Bombay (Mumbai), India, Kapoor has lived and worked in London since the early 1970s where he moved to study art, first at the Hornsey College of Art and later at the Chelsea School of Art and Design.
He gained international acclaim with solo exhibits at venues such as the Tate Gallery and Hayward Gallery in London, Kunsthalle Basel, Haus der Kunst Munich, Deutsche Guggenheim in Berlin, Reina Sofia in Madrid, MAK Vienna, and the ICA Boston. He represented Britain in the XLIV Venice Biennale in 1990, when he was awarded the Premio Duemila Prize. In 1991 he received the Turner Prize. Notable public sculptures include Cloud Gate, Millennium Park, Chicago, and Sky Mirror at the Rockefeller Center, New York.
Anish Kapoor is a Royal Academician and was made a Commander of the British Empire in 2003.

Contents

[hide]

Early life and education

Kapoor was raised in an Indian home. His mother was a Jewish immigrant from Baghdad. “My mother was then only a few months old. She had an Indian-Jewish upbringing. Her father, my grandfather, was the cantor in the synagogue in Pune. At the time, the Jewish community in Bombay was quite large, mostly consisting of Baghdadi Jews.” [1] His father, from a Punjabi family, was a hydrographer in the Indian Navy. [2]
Kapoor spent his early years in India, first in Bombay (Mumbai), and then in Dehra Dun at the prestigious Doon School. As a teenager, he moved to Israel, and then to Britain to attend Hornsey College of Art and Chelsea School of Art and Design, both in London, and he has been based in that city since. [3]
He achieved widespread recognition when he represented Britain at the 1990 Venice Biennale.[4]

Works


1000 Names, 1985
Kapoor's pieces are frequently simple, curved forms, usually monochromatic and brightly coloured. Most often, the intention is to engage the viewer, producing awe through their size and simple beauty, evoking mystery through the works' dark cavities, tactility through their inviting surfaces, and fascination through their reflective facades. His early pieces rely on powder pigment to cover the works and the floor around them. Such use of pigment characterised his first high profile exhibit as part of the New Sculpture exhibition at the Hayward Gallery London in 1978. This practice was inspired by the mounds of brightly coloured pigment in the markets and temples of India. His later works are made of solid, quarried stone, many of which have carved apertures and cavities, often alluding to, and playing with, dualities (earth-sky, matter-spirit, lightness-darkness, visible-invisible, conscious-unconscious, male-female and body-mind). His most recent works are mirror-like, reflecting or distorting the viewer and surroundings. The use of red wax is also part of his current repertoire, evocative of flesh, blood and transfiguration.
Kapoor has produced a number of large works, including Taratantara (1999), a 35 metre-tall piece installed in the Baltic Flour Mills in Gateshead, England before renovation began there and Marsyas (2002), a large work of steel and flesh-coloured PVC that reached end to end of the 3,400 square foot Turbine Hall of Tate Modern. A stone arch by Kapoor is permanently placed at the shore of a lake in Lødingen in northern Norway. In 2000, one of Kapoor's works, Parabolic Waters, consisting of rapidly rotating coloured water, was shown outside the Millennium Dome in London. In 2001, Sky Mirror, a large mirror piece that reflects the sky and surroundings, was commissioned for a site outside the Nottingham Playhouse in England. In 2004, Cloud Gate, a 110-ton stainless steel sculpture, was unveiled at Millennium Park in Chicago. In the Fall of 2006, a second Sky Mirror, was installed in Rockefeller Center, New York. Soon to be completed are a memorial to the British victims of 9/11 in New York, [5] and the design and construction of two subway stations in Naples, Italy.[6] Kapoor has also been commissioned to produce five pieces of public art by Tees Valley Regeneration (TVR)[7] collectively known as the "Tees Valley Giants"[8]

Cloud Gate, Millennium Park, Chicago, 2004
In 2007, he showed Svayambh (which can be roughly translated as 'self-generated'), a 1.5 metre carved block of red wax that moved on rails through the Nantes Musée des Beaux-Arts as part of the Biennale estuaire; this piece was shown again in a major show at the Haus Der Kunst in Munich and in 2009 at the Royal Academy in London. Kapoor's recent work increasingly blurs the boundaries between architecture and art.
In 2008, the Institute of Contemporary Art in Boston exhibited Kapoor's first U.S. mid-career survey. [9] In the same year, Kapoor created the sculpture "Memory" in Berlin and New York for the Guggenheim Foundation.
In 2009 Anish Kapoor became the first Guest Artistic Director of Brighton Festival. As well as informing the content of the festival as a whole, Kapoor installed 4 significant sculptures for the duration of the festival; Sky Mirror at Brighton Pavilion gardens, C-Curve at The Chattri, Blood Relations (a collaboration with author Salman Rushdie) and 1000 Names, both at Fabrica. He also created 2 new works: a large site-specific work entitled ‘The Dismemberment of Jeanne d’Arc’ and a performance based installation entitled ‘Imagined Monochrome’. The public response was so overwhelming that police had to re-divert traffic around C Curve at the Chattri and exercise crowd control.
When asked if engagement with people and places is the key to successful public art, Kapoor said,
“ I’m thinking about the mythical wonders of the world, the Hanging Gardens of Babylon and the Tower of Babel. It’s as if the collective will comes up with something that has resonance on an individual level and so becomes mythic. I can claim to take that as a model for a way of thinking. Art can do it, and I’m going to have a damn good go. I want to occupy the territory, but the territory is an idea and a way of thinking as much as a context that generates objects.[10] ”
His work is collected worldwide, notably by the Museum of Modern Art in New York, the Tate Modern in London, Fondazione Prada in Milan, the Guggenheim in Bilbao, the De Pont Foundation in Tilburg, Netherlands, and the 21st Century Museum of Contemporary Art in Kanazawa, Japan.
Kapoor's gallery representations include the Lisson Gallery, London and the Gladstone Gallery, New York.

Architectural projects

Throughout his career, Kapoor has worked extensively with architects and engineers. Kapoor insists that this body of work is neither pure sculpture nor pure architecture. Notable architectural projects include the recently announced Tees Valley "Giants", the worlds five largest sculptures in collaboration with Cecil Balmond of ARUP AGU, two subway stations in Naples in collaboration with Future Systems, an unrealised project for the Millennium Dome, London, (1995) in collaboration with Philip Gumuchdjian, a proposal for the Princess Diana Memorial Fountain and "Building for a Void", created for Expo '92, Seville, in collaboration with David Connor. “Taratantara” (1999-2000) was installed at the Baltic Centre for Contemporary Art, Gateshead and later at Piazza Plebiscito, Naples.
Of his vision for the Cumana station in Monte Sant'Angelo, Naples, currently under construction (as of June 2008), Kapoor has said:
“ It’s very vulva-like. The tradition of the Paris or Moscow metro is of palaces of light, underground. I wanted to do exactly the opposite – to acknowledge that we are going underground. So it’s dark, and what I’ve done is bring the tunnel up and roll it over as a form like a sock.[11] ”

Current and forthcoming exhibitions and projects


Svayambh, commonly known as "the train"
Kapoor is the first living artist to take over the Royal Academy, London,[citation needed] from September 26 - December 11, 2009.
“Shooting into the Corner”, MAK Vienna – 21 January-19 April 2009
"Blood Relations", Fabrica, Brighton 10 April - 24 May
Brighton Festival, 2-23 May 2009
Royal Academy, London - 19 September-11 December 2009
“Memory”, Guggenheim, New York – 9 October 2009

Awards

Kapoor represented Britain at the Venice Biennale, 1990, where he was awarded the Premio Duemila. The following year, he won the prestigious Turner Prize.
Solo exhibitions of his work have been held in the Tate, Royal Academy and Hayward Gallery in London, Kunsthalle Basel in Switzerland, Reina Sofia in Madrid, the National Gallery in Ottawa, Musee des arts contemporains (Grand-Hornu) in Belgium, the CAPC Museum of Contemporary Art in Bordeaux and at the Centro Cultural Banco do Brasil in Brazil. His work is collected worldwide, notably by the Museum of Modern Art in New York, the Tate Modern in London, Fondazione Prada in Milan, the Guggenheim in Bilbao, the De Pont Foundation in the Netherlands and the 21st Century Museum of Contemporary Art in Kanazawa, Japan.

References

  1. ^ Weiner, Julia. "Interview: Anish Kapoor is the biggest name in art". Jewish Chronicle, September 24, 2009
  2. ^ [1]
  3. ^ [2]
  4. ^ Imagine - Winter 2009 - 1. The Year of Anish Kapoor: BBC One, 11:35pm Tuesday 17th November 2009
  5. ^ British Memorial Garden
  6. ^ Neville Wakefield. "A Colossal Talent"Interior Design, 8/1/2003.
  7. ^ Tees Valley Regeneration
  8. ^ untitled
  9. ^ Sebastian Smee. Anish Kapoor challenges perceptions in a mind-bending show at the ICA. The Boston Globe, May 30, 2008.
  10. ^ Sarah Kent (December/January 2008), Mr. Big Stuff, Modern Painters, http://www.artinfo.com/news/story/29161/mr-big-stuff/, retrieved 2008-12-15
  11. ^ Gayford, Martin. "All and Nothing: Anish Kapoor on sexuality, spirituality and capturing emptiness", Apollo (magazine), 2008-06-01. Retrieved on 2009-05-28.

External links


 Anish Kapoor,  A ‘Cloud Gate’ in China? Xinjiang Sculpture Resembles Chicago ‘Bean’ 2015

Karamay in western China is unveiling a sculpture that looks very similar to “Cloud Gate”, a 110-tonne stainless-steel structure nicknamed the Bean, in Chicago’s Millennium Park. Is imitation the greatest form of flattery? http://econ.st/1NVys8s

The Bean and the Bubble
ANISH KAPOOR has been making headlines on both sides of the Atlantic. In June, one of his sculptures on display in the garden of the palace of Versailles, which he...

ECON.ST



A ‘Cloud Gate’ in China? Xinjiang Sculpture Resembles Chicago ‘Bean’

克拉瑪依市
維吾爾語قاراماي شەھرى
拉丁維文Qaramay
托忒蒙古文ᡍᠠᠷᠠᡏᠠᡕᡅ ᡍᡆᡐᡆ Qaramayi hoto
China Xinjiang Karamay.svg
克拉瑪依市在中國新疆的地理位置
概覽
國家 中華人民共和國
省新疆

Hot on the heels of a dust-up over its Winter Olympic anthem, China appears to have another intellectual property debate on its hands – this time over a sculpture in the far-western Xinjiang region that bears an uncanny resemblance to Chicago’s famous “Cloud Gate.”
The sculpture in the Xinjiang oil town of Karamay was reported this week in China’s state-run media and will be open to the public later this month. It has been under construction since 2013, according to the Communist Party mouthpiece People’s Daily.
In a statement, Anish Kapoor, the Indian-British artist who designed Chicago’s “Cloud Gate,” said that he plans to take legal action against the creator of the Xinjiang lookalike.
“It seems that in China today it is permissible to steal the creativity of others,” Mr. Kapoor said. “I feel I must take this to the highest level and pursue those responsible in the courts.”
“I hope that the Mayor of Chicago will join me in this action,” he added. “The Chinese authorities must act to stop this kind of infringement and allow the full enforcement of copyright.”
On China’s Weibo microblogs, photos of the Karamay sculpture drew a swift reaction from users who said the similarities were too obvious to miss.
The “Cloud Gate” sculpture in Chicago’s Millennium Park.
 
European Pressphoto Agency
“It looks almost the same as Chicago’s ‘Cloud Gate!’ I remember it appeared in the movie ‘Source Code’,” one user wrote Wednesday.
“It’s such an obvious copy. Our designers are embarrassing us; our shanzhai speed is really quick,” wrote another, using a Chinese slang word used to describe knockoff products.
Ma Jun, the planning and construction-management section chief of Karamay’s Tourism Bureau, declined to reveal the name of the sculpture’s creator, saying only that the artist is Chinese.
In a phone interview with China Real Time, Mr. Ma also said that while he had heard of “Cloud Gate,” any similarity between the two stainless-steel works is purely a coincidence – and that the Karamay sculpture “looks like an oil bubble,” whereas the Chicago landmark “has a bean shape.”
People watch a lighting test inside the new Karamay sculpture.
 
Reuters
“The idea of the oil bubble comes from the Black Oil Mountain, which is a natural oil well in Karamay,” Mr. Ma said Wednesday. “People can enter the big bubble to visit and hold activities. There are some small bubbles around to make it more fun.”
“You can’t say we’re not allowed to build a round sculpture because there already is a round one,” he added. “While we use similar materials, the shapes and meanings are different. ‘Cloud Gate’ intends to reflect the sky, but ours reflects the ground; that’s why we used granite to imitate oil waves (in the area surrounding the sculpture).”
The 110-ton structure, which reflects the Windy City’s skyline, was opened to the public in 2006.
–Felicia Sonmez and Hu Xin. Follow Felicia on Twitter @feliciasonmez and Hu Xin@Xinxin_h
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