Then people disperse – it will be a long wait for the next one. Once it has fallen there is a sudden burst of conversation, laughter and general noise as it seems that the moment everyone awaited as happened and passed by. Spectators become hushed as a gobbet approached the top of its belt. The slow movement of each wax gobbet creates a sense of suspense. This is Kapoor’s Symphony for a Beloved Sun (2013). Falling over the end of the belt, it noisily joins its predecessors on the increasingly messy floor below. Periodically, a gobbet of wax is loaded on to one of these belts by unseen hands or mechanisms and travels slowly upwards. Some emerge from the walls, one from a pit in the floor. This feature – or ‘sun’ – is surrounded by several large conveyor belts angled upwards on stands. Around it on the floor are what look like half-melted, half-broken gobbets of the reddish wax that visitors to London’s Royal Academy (RA) in 2009 will recall from the massive work Svayambh and others shown at Kapoor’s exhibition there. In a large central atrium, a large red disk is held aloft on triangular, scaffolding-like supports. Mounting the main staircase, one is flanked by two large mirrors, one marked ‘ost’ (east) and the other ‘west’ (west), a reminder that one is occupying what would have been an impossible space between 13 August 1961 and 9 November 1989, the period for which the wall separated the two Germanies. “It’s literally,” said the artist, prophetically, “as if you could disappear into it”.Berlin’s Martin Gropius Bau is built on a site straddling the line of the now-demolished Berlin Wall, a little of which remains further along the street. ![]() The pigment comprises “microscopic stems of colour that are 300 times as tall as they are wide, so that about 99.6 per cent of all light just gets trapped in the network of standing segments”. ![]() Kapoor was excited as the battle to use the colour “exclusively” raged on. Kapoor told the world two years ago that he secured the rights to exclusively use Vantablack, the “blackest black” pigment, designed originally for military purposes, as it could guard stealth aircraft. But he likely did not envision a connoisseur so deep inside the exhibit - an unintended brush with the colours used. Kapoor, through his acclaimed installations like the Orbit tower, which is the tallest sculpture in the UK, the Ark Nova (an inflatable concert hall), two subway stations (in Naples and Triano) appears to have always thought of human beings at the centre of his work. The sheer draw of the black ink used by Kapoor may have hypnotised him into boldly going where no man had gone before. It has not been reported if a few sips caused the descent of man. ![]() This exhibition was in Porto, Portugal’s second-largest city and well known for Bacchus’ finest offering - Port wine. It was just a black hole, a void, but he could not dodge gravity. The artwork was damaged and the man was left nursing his wounds, after finding and hitting limbo. “Descent into Limbo”, a work by the renowned artist, Anish Kapoor, turned into grim reality for a 60-year-old visitor to a museum last week, when he dropped into it.
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