Anish Kapoor at the MCA, Sydney
Friday March 08 2013
Recently the Object team visited the Museum of Contemporary Art Australia to see the greatly anticipated survey exhibition, Anish Kapoor. Judith Blackall, Head of Artistic Programs, and Megan Robson, Curatorial Assistant, kindly introduced us to the show, providing first-hand, behind-the-scenes insights into coordinating the museum’s most ‘colossal’ exhibition to date.
The group was told all about the enormous logistical feat that Anish Kapoor demanded. Realising this project, described by Robson as the museum’s most ambitious exhibition yet, required the biggest budget the MCA has acquired, largely due to the unique freight and installation requirements of Kapoor’s work. Comprised of 22 containers worth of sculptural works shipped directly from the artist’s studio in London, the sheer weight of his work meant engaging external contractors, including structural engineers and heavy lifting specialists, was a necessity throughout freight and installation. This involved not only closing off streets, but also removing whole walls and ceilings to accommodate the large-scale works.
18th Biennale of Sydney
Wednesday June 27 2012
The idea of collaboration — whether between people, disciplines, media or culture — seems to be a dominant theme in the current cultural landscape. It is something we have covered numerous times, and almost became an unofficial theme in issue 62 of Object magazine, so prevalent was it in the practices covered. And it is this idea that underpins the 18th Biennale of Sydney (BoS), open from June 27 to September 16.
Titled all our relations, the latest BoS (the first instalment of which opened in the Sydney Opera House back in 1973) is, for the first time, headed by two Artistic Directors — Catherine de Zegher and Gerard McMaster. The pair, who have previously collaborated at the Art Gallery of Ontario in Toronto and The Drawing Center in New York, reference their partnership through a number of artistic combinations, bringing together artists from various corners to work on pieces at once local and global in their gaze.