Anish Kapoor in Venice

On a recent trip to Italy, a walk through Venice led me to an unexpected treasure: a new exhibition by Anish Kapoor at Palazzo Manfrin. Dating back to 1520, the palazzo passed through a series of families over the centuries and at one point housed a school before falling into disrepair. Kapoor bought it in 2018 and renovated it to house his foundation.

I first learned of Kapoor while working at Holly Hunt, on a visit to Axel Vervoordt’s home near Antwerp. Kapoor’s At the Edge of the World, an enormous overhead dome with red pigment on its underside, is a permanent installation at the Vervoordts’ gallery, Kanaal. Stepping in under the dome, I was transported into quiet and stillness, into deep red darkness. Somehow it felt like being in space. I’ve been captivated by Kapoor’s work ever since, and I was thrilled years later when Cloud Gate was installed in Chicago’s Millennium Park.

The Venice exhibition is part of the 61st Biennale di Venezia. It features large-scale installations, a series of mirror and stainless steel works, and sketches, drawings and architectural models spanning the past 50 years. It was a gift to glimpse his creative process and see the range of materials he uses for his models and sketches, including charcoal, pigment, resin and clay. It felt like being invited into his studio.

The juxtaposition of his modern work with the palazzo’s rough, unfinished walls and exposed framing created a tension between old and new that added depth to the experience. It reminded me of seeing Kapoor’s work at Kanaal, an old grain elevator Vervoordt renovated into a beautiful gallery with an industrial feel.

I left Palazzo Manfrin inspired and excited about the process of creating, which seems to get harder the more we’re inundated with the noise and chaos of content streaming through dozens of channels in our lives. Seeing the work of such a powerful, authentic artist reminded me of what art at its highest level can do for the mind and spirit.