Anish Kapoor’s first major exhibition was at the Hayward Gallery nearly 30 years ago. But his latest, delivered in an age of “minuscule attention spans”, is filled with so many “tricks and surprises you’re likely to drop your phone mid-text into a black hole”, said Jonathan Jones in The Guardian.
Kapoor’s “mind-warping” piece “Mount Moriah at the Gate of the Ghetto” (2022) is one of the standouts – a mountain hanging upside down from the ceiling, painted in “thick slathers of red and black” and dripping “fire or lava that metamorphoses into wet, fresh blood”. It’s a “metaphysical rollercoaster ride of a show, a divine bloodbath”.
His “Plastic Sacrifice” series exposes “horribly surgical-looking”, synthetic PVC skin. “They resemble a serial killer’s trophy art.” Contrary to the “small, dry efforts” of much modern art, Kapoor “soaks the Hayward in the blood and guts of his unfettered imagination”.
With his “brilliantly gross” sculptures of “gory, vile piles of wet guts”, Kapoor’s message is clear, said Eddy Frankel in The Times. “It doesn’t matter how special you think you are, at the end of the day we’re all just meat”.
His paintings using Vantablack – the most light-absorbent pigment on Earth – are not as successful, however. What are meant to be deep, searching abysses are just “black squares and circles”. These may be “pretty heinous”, but, at its best, Kapoor’s art is “universal, enormous, overwhelming and very, very human”.
The newest intriguing installation, “Ha Makom”, finished earlier this year, could be a “film set, a spaceport, or a remote ancient temple”, said Alastair Sooke in The Telegraph. Inspired by Uluru, the “sacred sandstone monolith” in Australia, it combines the “pristine” precision of his work, with “intense” colour.
In all, the “beautifully presented” show is “zinging”. If there had been any doubt, “Kapoor silences those who characterise his ambitious aesthetic quest, striving for metaphysical effects, as out of step with our ironic and cynical times”.
Hayward Gallery, London SE1, until 18 October
The artist takes visitors to the Hayward Gallery on a ‘metaphysical rollercoaster ride’
