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Marsyas, Flayed by Anish Kapoor

 
 
Mourne Kransky
16:00 / 13.10.02
Took myself off to Tate Modern this afternoon to have a look at Anish Kapoor's Marsyas, which now fills the turbine hall, gloriously! Hundreds of feet of blood red plastic stretched taut over three great, convolvular trumpets. It's bloody impressive but I wondered if I should be feeling more than awe at the magnificent scale of the thing. Bigger span than the wings of Gormley's Angel of the North.

In an interview I read through the week in the good old Guardian, Kapoor was happy to talk about all sorts but seemed reluctant to talk about the size of the piece specifically or the likely price when it comes time to market it further. This makes me wonder about the theme of hubris which connects directly with the Titian painting of The Flaying of Marsyas that, it appears, inspired the work.

I've encountered before the gruesome myth of Marsyas, the satyr, who challenged Apollo, the god of music, to a contest on the lute. He lost and Apollo punished his arrogance by flaying the satyr alive. Bit harsh, that, but they were a law unto themselves those old Greek deities.

The Titian painting captures the moment when the flaying is about to start. Integument still intact and bloodless, although the poor, presumptuous satyr is suspended upside down and ready.

Kapoor's work is blood red and there's the impression of hide stretched and ready for tanning about the connective sinews in deep red, which makes the whole physical process of the flaying seem more cruel and immediate than the painting. And the glorious expanse, too huge to take in without doing some legwork, impossible to see the whole simultaneously in the turbine hall's huuuuge space, has the excess to evoke the fundamental of the myth.

Not easy to capture its essence in a photograph. The experience of the piece is quite different from various vantage points too, depending upon whether you're upstairs and about to be swallowed by the middle flute or standing outside of the work, looking on from either end. Verrry interesting.

Wonder how the gods will punish Kapoor for his hubris?
 
 
Kit-Cat Club
14:28 / 14.10.02
I want to see this... am in London on Sunday so will try then - do you reckon it would combine well with Barnett Newman?
 
 
ONLY NICE THINGS
22:11 / 14.10.02
Planning to go see on Friday. Will hopefully be able to offer some perspective then.

I think the institution of the Turbine Hall should have a thread to itself...
 
 
The Return Of Rothkoid
09:56 / 15.10.02
I would hope that *someone* (looking in one direction in particular) is able to send me one of the Tate's postcards of this. It looks fab, from what I've seen. The pieces that've been made for the Turbine Hall have been uniformly rockin', so far...
 
 
Mourne Kransky
11:04 / 15.10.02
I didn't go see Barnett Newman 'cause I'm too broke this month, K-CC, but I should think touring that exhibition would be an interesting counterpoint to the maroon behemoth in the turbine hall. All I know of Newman is what I see on the posters and have read in recent press but the apparent rigour and control of his pieces would, I surmise, be the antithesis of the grandiose Kapoor work.

Still running my fingers over that red pvc, in my memory.
 
 
Kit-Cat Club
15:22 / 15.10.02
Tis just that I have a fondness for the more, um, stark? Abstract Expressionists - Newman, Franz Kline, that lot - which is a hangover from my A-Level, and saw the twelve stations when I was in wherever MOMA is in America (how useless I am - I remember the museum perfectly well, can't remember where it actually *is*) and thought it was amazing...

Yes, I think you're right, the contrast should be illuminating - severity vs sensuality, perhaps.
 
 
Naked Flame
07:34 / 16.10.02
Saw this over the weekend, and the word is 'wow'. This piece seems to warp space such that you experience vertigo, but sideways...

Impossible to photograph. At least, impossible to photograph without a camera that's on drugs. Good drugs.
 
 
sleazenation
20:11 / 17.10.02
been looking forward to seeing this piece - watching as the turbine hall entrance was closed to allow its construction. see if i can nip in to see it on the way to work tomorrow.
 
 
Naked Flame
21:41 / 17.10.02
It may be of no interest to know that I'm featuring an audio recording of this piece in the show I'm doing at the moment, which you can read about here. But you never know.

There's a small prize for anyone who can figure out where in the show we use it...
 
 
Tryphena Absent
22:29 / 17.10.02
It's good to know that they're using the turbine hall properly again because the last lot of sculptures exhibited in it were definitely too small. I saw Germaine Greer whining about the lack of emotion she felt beyond a reaction to the size of this piece but I'm looking forward to seeing it and am assuming that she will be wrong. It sounds fantastic.

Saturday might be the day and I wouldn't mind seeing Barnett Newman either.
 
 
sleazenation
16:25 / 20.10.02
I really enoyed seeing this from the orifice that greets you as you walk in the turbine hall to the the whole that serves to sweep you up inside the instilation at the top of the stairs. Evoking the sense of something flayed of being inside a body and of standing on the brink of something at different parts of its length. Like i said, i liked it, I don't think you can really ask for more than that.
 
 
ONLY NICE THINGS
21:58 / 20.10.02
As I said elsewhere, I can't decide whether this functions better as a metonymic representation of the vagina/fallopian tubes that create the birth of the auletic medium (because, since nothing is ever as simple as that, Marsyas may have died but his instrument of choice lived on, see also Ovid and the tale of Io for Hermes playing the flute to lull Argos to sleep), or as a kind of reduplicated image of the fkensed penis, as the hollow of the instrument itself but also of the punishment of a satyr asserting his own (phallic, pipe-shaped) virtue against the altogether more complex sexuality of Apollo.

But yes, I was ver' impressed. Definitely worth a look. And a listen - the impact on the acoustics of the Turbine Hall of all that PVC does weird and very cool things, varying according to your position...
 
 
Kit-Cat Club
00:23 / 21.10.02
I thought it was like a distended blood vessel/valve of the heart meself... didn't really get any 'generative organs' signals - unless it was at the ends, which I did think were reminiscent (in shape at least) of Georgia O'Keeffe's arum lilies.
 
  
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