PRELUDE
CONTRIBUTORS
EDITORIAL
CONTENTS
KALEIDOSCOPE
LEAD ESSAYS
TAPATI GUHA-THAKURTA
KWOK KIAN CHOW
COLLECTOR
NIVEDITA MAGAR
PROFILE
MEERA MENEZES
SPECIAL REPORTS
MEERA MENEZES
JOHAN PIJNAPPEL
INTERNATIONAL REPORT
SHANAY JHAVERI
INTERNATIONAL REVIEWS
ZEHRA JUMABHOY
CAMILLA R. NIELSEN
SASKIA MILLER
REVIEWS
ABHAY SARDESAI
KAVITA SINGH
ANIRUDH CHARI
MARTA JAKIMOWICZ
GITANJALI DANG
ELLA DATTA
LATIKA GUPTA
MEERA MENEZES
JANICE PARIAT
AVNI DOSHI
ZEHRA JUMABHOY
PHALGUNI DESAI
LISTINGS
INTERNATIONAL REVIEW

Anish Kapoor. Shooting into the Corner. Mixed media. Dimensions variable. 2008-09. Installed at the Royal Academy of Arts, London, 2009. PHOTOGRAPH BY DAVID MORGAN. IMAGE COURTESY THE ARTIST AND LISSON GALLERY, LONDON.

Seeing Red

What are a gigantic blob of wax, a cannon shooting coagulated gore and a cluster of silvery balls trying to tell us at Anish Kapoor's latest London solo? Zehra Jumabhoy airs her opinion.

BOMBAY-BORN ANISH KAPOOR'S SOLO EXTRAVAGANZA, WHICH overran gilt-edged rooms at the Royal Academy of Arts from the 26th of September to the 11th of December, took the delights of destruction seriously. With Svayambh ('self-generated' in Sanskrit) a 30-ton block of red wax shoved its way through the Academy's embellished archways on a motorized wooden platform, leaving a trail of violent-hued deposits in its wake. As a defiant dig at the aura of authority, which usually hovers around these Palladian precincts, we couldn't suppress a surge of glee at Svayambh (2007) - something akin to the guilty pleasure a 5-year old might feel at besmirching a pompous headmaster's office.

But such cheap thrills aside, Svayambh's tricks with perspective was also a take on the peculiar way we intuit time and distance. Svayambh supposedly moved at a constant speed, but we remained unconvinced of this fact. Sometimes, it seemed to be standing still. At others, its progress appeared maddeningly slow: the closer it got to the porticos, the longer it seemed to take to reach them. Yet, its spectacular transition from one room to the next transpired in a flash. So, Svayambh plonked us in a state of perpetual expectation: waiting for an event that was over before it began.

Svayambh's gargantuan mass was pregnant with other meanings too. Perhaps, it referenced the notion of "liminal spaces" that theorist Homi K Bhabha tells us to associate with artists who live in the diaspora - a.k.a the "in-between-ness" of cosmopolitan homelessness that Bhabha sees as conducive to multi-cultural conversations. For, Svayambh existed in a literal limbo: between corridors, pushing borders and contesting thresholds.