[Script Info]
Title: 
[Events]
Format: Layer, Start, End, Style, Name, MarginL, MarginR, MarginV, Effect, Text
Dialogue: 0,0:00:32.06,0:00:34.58,Default,,0000,0000,0000,,ANISH KAPOOR: Objects are,\NI believe, illusory.
Dialogue: 0,0:00:35.64,0:00:39.36,Default,,0000,0000,0000,,They are never what they\Nat first appear to be.
Dialogue: 0,0:00:42.72,0:00:46.80,Default,,0000,0000,0000,,We look at them\Nmostly with love,
Dialogue: 0,0:00:46.80,0:00:50.28,Default,,0000,0000,0000,,hate, desire, revulsion\Nor whatever else it is.
Dialogue: 0,0:00:51.12,0:00:52.56,Default,,0000,0000,0000,,The viewer's involved.
Dialogue: 0,0:00:52.56,0:00:53.76,Default,,0000,0000,0000,,There's always a conversation.
Dialogue: 0,0:01:00.96,0:01:05.58,Default,,0000,0000,0000,,And one of the things I think\NI've tumbled into in my process
Dialogue: 0,0:01:05.58,0:01:10.74,Default,,0000,0000,0000,,is that kind of uncertainty\Nof what the object is.
Dialogue: 0,0:01:15.52,0:01:18.58,Default,,0000,0000,0000,,Um, is the space of this object\Nin there or is it out here?
Dialogue: 0,0:01:19.08,0:01:21.90,Default,,0000,0000,0000,,It's-- it feels like\Nit's out here somewhere.
Dialogue: 0,0:01:27.24,0:01:28.56,Default,,0000,0000,0000,,Why not see the camera?
Dialogue: 0,0:01:29.34,0:01:31.38,Default,,0000,0000,0000,,Maybe you can't\Ndo otherwise here.
Dialogue: 0,0:01:32.40,0:01:34.32,Default,,0000,0000,0000,,Even there, you see,\Nthe camera's in it.
Dialogue: 0,0:01:39.96,0:01:43.56,Default,,0000,0000,0000,,Polished objects have been\Naround in art for a very long time.
Dialogue: 0,0:01:44.46,0:01:46.02,Default,,0000,0000,0000,,But they were all convex.
Dialogue: 0,0:01:47.64,0:01:49.56,Default,,0000,0000,0000,,I've been working\Nwith concavity.
Dialogue: 0,0:01:52.50,0:01:54.72,Default,,0000,0000,0000,,And what it has is a focus.
Dialogue: 0,0:01:55.32,0:01:58.50,Default,,0000,0000,0000,,It magnifies and turns\Neverything upside-down.
Dialogue: 0,0:02:00.60,0:02:03.12,Default,,0000,0000,0000,,And at that point there\Nis a sense of vertigo.
Dialogue: 0,0:02:04.75,0:02:09.07,Default,,0000,0000,0000,,And it's that sense of turning\Nthe object inside-out that I'm
Dialogue: 0,0:02:09.07,0:02:10.74,Default,,0000,0000,0000,,really taken with.
Dialogue: 0,0:02:14.16,0:02:17.64,Default,,0000,0000,0000,,We think of\Ngeometry as knowable.
Dialogue: 0,0:02:17.64,0:02:19.86,Default,,0000,0000,0000,,The interesting\Nthing about geometry,
Dialogue: 0,0:02:19.86,0:02:25.50,Default,,0000,0000,0000,,however, is that when it's taken\Nto the Nth degree of knowing,
Dialogue: 0,0:02:26.22,0:02:27.78,Default,,0000,0000,0000,,it becomes unknowable.
Dialogue: 0,0:02:28.74,0:02:29.58,Default,,0000,0000,0000,,Here's another one.
Dialogue: 0,0:02:29.58,0:02:33.90,Default,,0000,0000,0000,,Um, which does a similar\Nthing in a different way.
Dialogue: 0,0:02:34.56,0:02:38.40,Default,,0000,0000,0000,,This is a rectangle\Nwith one curved edge.
Dialogue: 0,0:02:39.42,0:02:42.42,Default,,0000,0000,0000,,It's a straight line here and\Nit's a straight line there.
Dialogue: 0,0:02:43.92,0:02:47.64,Default,,0000,0000,0000,,But all the surface\Nin between is curved.
Dialogue: 0,0:02:47.64,0:02:52.44,Default,,0000,0000,0000,,So it's doing all the things I\Nwant of an object which is to
Dialogue: 0,0:02:52.44,0:02:53.34,Default,,0000,0000,0000,,become concave.
Dialogue: 0,0:03:01.50,0:03:05.88,Default,,0000,0000,0000,,Lewis Carroll proposes a\Nworld into which you fall.
Dialogue: 0,0:03:05.88,0:03:08.22,Default,,0000,0000,0000,,You know, the rabbit\Nhole or whatever it is.
Dialogue: 0,0:03:08.22,0:03:13.50,Default,,0000,0000,0000,,And that sense of falling\Nis obviously a big part of
Dialogue: 0,0:03:13.50,0:03:14.22,Default,,0000,0000,0000,,concavity.
Dialogue: 0,0:03:18.18,0:03:21.00,Default,,0000,0000,0000,,As artists, we conduct\Nour educations in public.
Dialogue: 0,0:03:22.26,0:03:25.98,Default,,0000,0000,0000,,You can never know whether it's\Ngoing to be a success in terms
Dialogue: 0,0:03:25.98,0:03:27.06,Default,,0000,0000,0000,,of what the work is after.
Dialogue: 0,0:03:29.16,0:03:30.48,Default,,0000,0000,0000,,One just has to risk it.
Dialogue: 0,0:03:34.75,0:03:38.59,Default,,0000,0000,0000,,I've watched people walk into\Na space and go in and go...
Dialogue: 0,0:03:38.59,0:03:39.48,Default,,0000,0000,0000,,like that.
Dialogue: 0,0:03:40.14,0:03:42.24,Default,,0000,0000,0000,,Um...\NGreat, that's what I'm after.
Dialogue: 0,0:03:43.38,0:03:45.60,Default,,0000,0000,0000,,That sense of, "How can it be?"
Dialogue: 0,0:03:50.10,0:03:54.90,Default,,0000,0000,0000,,Since "Cloud Gate" was finished\NI'm told 200 million people have
Dialogue: 0,0:03:54.90,0:03:56.94,Default,,0000,0000,0000,,seen it, which is remarkable.
Dialogue: 0,0:03:56.94,0:04:02.34,Default,,0000,0000,0000,,And 200 million people\Napparently means 500 million
Dialogue: 0,0:04:02.34,0:04:04.98,Default,,0000,0000,0000,,selfies [laughs] which I love.
Dialogue: 0,0:04:09.18,0:04:12.84,Default,,0000,0000,0000,,When I first made it, I\Nfelt that it was too popular,
Dialogue: 0,0:04:12.84,0:04:14.88,Default,,0000,0000,0000,,too...easy.
Dialogue: 0,0:04:15.72,0:04:20.76,Default,,0000,0000,0000,,And in sitting with it I\Nrealized that it does something
Dialogue: 0,0:04:20.76,0:04:21.84,Default,,0000,0000,0000,,rather interesting.
Dialogue: 0,0:04:23.34,0:04:25.44,Default,,0000,0000,0000,,When you're with\Nit, it's enormous.
Dialogue: 0,0:04:25.44,0:04:28.80,Default,,0000,0000,0000,,But you don't have to step too\Nfar away from it and it's not.
Dialogue: 0,0:04:29.64,0:04:32.52,Default,,0000,0000,0000,,It has this sort\Nof shifting scale.
Dialogue: 0,0:04:35.10,0:04:36.90,Default,,0000,0000,0000,,The size of a thing is\Nthe size of a thing;
Dialogue: 0,0:04:36.90,0:04:38.16,Default,,0000,0000,0000,,big, small, whatever it is.
Dialogue: 0,0:04:38.16,0:04:42.90,Default,,0000,0000,0000,,A scale of a thing, however,\Nis a strange combination of
Dialogue: 0,0:04:42.90,0:04:47.34,Default,,0000,0000,0000,,meaning, size and emotionality.
Dialogue: 0,0:04:49.62,0:04:55.20,Default,,0000,0000,0000,,It manages to say, "The measure\Nof my body is such in relation
Dialogue: 0,0:04:55.20,0:04:59.10,Default,,0000,0000,0000,,to the object that it does\Nsomething to my spirit."
Dialogue: 0,0:05:02.70,0:05:06.66,Default,,0000,0000,0000,,Does that lead then to ask\Noneself about how big one is,
Dialogue: 0,0:05:06.66,0:05:10.25,Default,,0000,0000,0000,,how small one is, how\Nsignificant one is or all the
Dialogue: 0,0:05:10.25,0:05:11.06,Default,,0000,0000,0000,,variations?
Dialogue: 0,0:05:19.98,0:05:23.58,Default,,0000,0000,0000,,Like all good little Indian\Nboys, I was pretty sure that the
Dialogue: 0,0:05:23.58,0:05:26.52,Default,,0000,0000,0000,,only thing to do was to be\Nan engineer of some kind or
Dialogue: 0,0:05:26.52,0:05:27.66,Default,,0000,0000,0000,,something like that.
Dialogue: 0,0:05:27.90,0:05:31.26,Default,,0000,0000,0000,,But, you know, once I made the\Ndecision to be an artist when I
Dialogue: 0,0:05:31.26,0:05:33.84,Default,,0000,0000,0000,,was 17, I knew that it\Nwas what I had to do.
Dialogue: 0,0:05:38.10,0:05:39.36,Default,,0000,0000,0000,,I came here to go to art school.
Dialogue: 0,0:05:40.92,0:05:44.50,Default,,0000,0000,0000,,Because London is\Nmarvelously cosmopolitan,
Dialogue: 0,0:05:44.50,0:05:45.00,Default,,0000,0000,0000,,I stayed.
Dialogue: 0,0:05:51.54,0:05:53.64,Default,,0000,0000,0000,,Come out and I'll try to\Nexplain what we're doing
Dialogue: 0,0:05:53.64,0:05:54.14,Default,,0000,0000,0000,,next-door.
Dialogue: 0,0:05:54.14,0:05:55.51,Default,,0000,0000,0000,,Or what we're thinking about.
Dialogue: 0,0:06:03.66,0:06:11.10,Default,,0000,0000,0000,,I'm in the middle of\Nmaking a number of forms.
Dialogue: 0,0:06:11.64,0:06:15.24,Default,,0000,0000,0000,,They're all fairly organic\Nand they all have interiors.
Dialogue: 0,0:06:16.14,0:06:21.54,Default,,0000,0000,0000,,And we are wondering about\Nhow we can make the process...
Dialogue: 0,0:06:23.04,0:06:23.82,Default,,0000,0000,0000,,simpler.
Dialogue: 0,0:06:26.34,0:06:29.22,Default,,0000,0000,0000,,I'll start something, whether\Nit's drawing on the wall or
Dialogue: 0,0:06:29.22,0:06:31.32,Default,,0000,0000,0000,,drawing on a piece of\Npaper or whatever it is.
Dialogue: 0,0:06:31.98,0:06:33.54,Default,,0000,0000,0000,,I don't pre-mediate them.
Dialogue: 0,0:06:34.14,0:06:35.40,Default,,0000,0000,0000,,I let it emerge.
Dialogue: 0,0:06:36.72,0:06:41.40,Default,,0000,0000,0000,,And I try and follow\Nthe implications of it.
Dialogue: 0,0:06:41.40,0:06:44.04,Default,,0000,0000,0000,,But then, of course,\Nsomeone has to make them.
Dialogue: 0,0:06:45.96,0:06:48.90,Default,,0000,0000,0000,,So, uh, this was made\Nby Hilary, who's working
Dialogue: 0,0:06:48.90,0:06:49.56,Default,,0000,0000,0000,,down there.
Dialogue: 0,0:06:50.22,0:06:54.90,Default,,0000,0000,0000,,And it takes a particular kind\Nof thinking to do accurately.
Dialogue: 0,0:06:56.52,0:07:00.48,Default,,0000,0000,0000,,She and I have, over the years,\Nunderstood slowly how do you,
Dialogue: 0,0:07:00.48,0:07:03.90,Default,,0000,0000,0000,,um, do the drawing accurately\Nenough so that the object
Dialogue: 0,0:07:03.90,0:07:06.42,Default,,0000,0000,0000,,actually fits\Ntogether properly and so on?
Dialogue: 0,0:07:10.80,0:07:14.52,Default,,0000,0000,0000,,I grew up in a place called\NDehradun in the north of India.
Dialogue: 0,0:07:15.36,0:07:18.00,Default,,0000,0000,0000,,Um, in the\Nfoothills of the Himalayas.
Dialogue: 0,0:07:18.00,0:07:21.72,Default,,0000,0000,0000,,So, there was always,\Nat the top end of town,
Dialogue: 0,0:07:22.56,0:07:24.12,Default,,0000,0000,0000,,um, the mountains.
Dialogue: 0,0:07:24.78,0:07:27.96,Default,,0000,0000,0000,,They were this kind of\Nconstant mysterious presence.
Dialogue: 0,0:07:29.70,0:07:32.52,Default,,0000,0000,0000,,It's something that's been in\Nmy work from the very, very
Dialogue: 0,0:07:32.52,0:07:38.28,Default,,0000,0000,0000,,early pigment works I made, you\Nknow, 40 years ago to these void
Dialogue: 0,0:07:38.28,0:07:39.04,Default,,0000,0000,0000,,mountains.
Dialogue: 0,0:07:41.10,0:07:45.12,Default,,0000,0000,0000,,The proposition here at least\Nis that there's a place or space
Dialogue: 0,0:07:45.12,0:07:46.62,Default,,0000,0000,0000,,through it, beyond it.
Dialogue: 0,0:07:47.82,0:07:49.14,Default,,0000,0000,0000,,It's never just physical.
Dialogue: 0,0:07:49.14,0:07:51.24,Default,,0000,0000,0000,,That there's\Nalways something else.
Dialogue: 0,0:07:53.60,0:07:57.42,Default,,0000,0000,0000,,I've worked a lot\Nwith dark blues.
Dialogue: 0,0:07:58.14,0:08:01.56,Default,,0000,0000,0000,,This very, very black black\Nwhich I'm working with at the
Dialogue: 0,0:08:01.56,0:08:05.00,Default,,0000,0000,0000,,moment.\NAnd red as blackness.
Dialogue: 0,0:08:05.00,0:08:06.08,Default,,0000,0000,0000,,Red as darkness.
Dialogue: 0,0:08:06.08,0:08:07.18,Default,,0000,0000,0000,,Red as interior.
Dialogue: 0,0:08:26.28,0:08:30.42,Default,,0000,0000,0000,,I think of color as\Nan immersive quality.
Dialogue: 0,0:08:32.64,0:08:34.98,Default,,0000,0000,0000,,That, you know, it's a bit\Nlike going into the shower.
Dialogue: 0,0:08:35.52,0:08:36.90,Default,,0000,0000,0000,,You go in the\Nshower, you get wet.
Dialogue: 0,0:08:36.90,0:08:38.52,Default,,0000,0000,0000,,Once you've been in\Nfront of a red thing,
Dialogue: 0,0:08:38.52,0:08:39.06,Default,,0000,0000,0000,,you get red.
Dialogue: 0,0:08:40.50,0:08:42.72,Default,,0000,0000,0000,,It's completely\Nwith you, around you.
Dialogue: 0,0:08:44.16,0:08:47.52,Default,,0000,0000,0000,,Essentially it's a\Nreflection on an interior.
Dialogue: 0,0:08:49.08,0:08:50.52,Default,,0000,0000,0000,,You know, I'm defined by this.
Dialogue: 0,0:08:51.12,0:08:54.24,Default,,0000,0000,0000,,But actually, close\Nmy eyes, I'm not this.
Dialogue: 0,0:08:54.24,0:08:56.28,Default,,0000,0000,0000,,I'm something else completely.
Dialogue: 0,0:08:56.28,0:08:57.24,Default,,0000,0000,0000,,I'm vast.
Dialogue: 0,0:09:00.00,0:09:02.47,Default,,0000,0000,0000,,And it has, I\Nbelieve, to do with red.
Dialogue: 0,0:09:05.04,0:09:09.24,Default,,0000,0000,0000,,Objects represent these\Npsychic propositions.
Dialogue: 0,0:09:18.30,0:09:23.76,Default,,0000,0000,0000,,"Symphony for a Beloved Son" is\Nconveyor belts that have great
Dialogue: 0,0:09:24.48,0:09:30.12,Default,,0000,0000,0000,,lumps of wax on them that\Nslowly go to the top and fall,
Dialogue: 0,0:09:31.32,0:09:33.72,Default,,0000,0000,0000,,making, I hope,\Nan enormous mess.
Dialogue: 0,0:09:36.48,0:09:41.52,Default,,0000,0000,0000,,What I'm after, of course,\Nis that sense of presence,
Dialogue: 0,0:09:41.52,0:09:47.88,Default,,0000,0000,0000,,decay, process-- all the things\Nthat are proposed both by
Dialogue: 0,0:09:47.88,0:09:51.00,Default,,0000,0000,0000,,mechanical procedure\Nand by sculpture itself.
Dialogue: 0,0:10:00.00,0:10:06.12,Default,,0000,0000,0000,,Here is a work which is about 20\Ntons of wax with this big block
Dialogue: 0,0:10:06.12,0:10:08.76,Default,,0000,0000,0000,,that slowly turns.
Dialogue: 0,0:10:09.60,0:10:10.56,Default,,0000,0000,0000,,Nothing much happens.
Dialogue: 0,0:10:13.50,0:10:15.06,Default,,0000,0000,0000,,It's called "My Red Homeland."
Dialogue: 0,0:10:16.53,0:10:20.71,Default,,0000,0000,0000,,Because my homeland is red,\Nboth internally and-- [laughs]
Dialogue: 0,0:10:20.71,0:10:22.62,Default,,0000,0000,0000,,and externally.
Dialogue: 0,0:10:29.76,0:10:32.32,Default,,0000,0000,0000,,You know, one\Ndoesn't do psychoanalysis,
Dialogue: 0,0:10:32.32,0:10:33.30,Default,,0000,0000,0000,,uh, for fun.
Dialogue: 0,0:10:34.62,0:10:38.46,Default,,0000,0000,0000,,I mean, I did it\Nfor 30-odd years.
Dialogue: 0,0:10:41.61,0:10:45.20,Default,,0000,0000,0000,,And I was, you know, in it\Nbecause I needed to be.
Dialogue: 0,0:10:54.84,0:10:59.64,Default,,0000,0000,0000,,What I love about it as a\Nprocess is that it proposes that
Dialogue: 0,0:10:59.64,0:11:05.22,Default,,0000,0000,0000,,the inner world is every bit as,\Nif not much more, significant
Dialogue: 0,0:11:05.22,0:11:08.04,Default,,0000,0000,0000,,than the so-called\Nword of reality.
Dialogue: 0,0:11:09.60,0:11:12.42,Default,,0000,0000,0000,,And the job then\Nis to work with it.
Dialogue: 0,0:11:13.50,0:11:15.54,Default,,0000,0000,0000,,And it's exactly what\Nhappens in the studio.
Dialogue: 0,0:11:17.70,0:11:20.04,Default,,0000,0000,0000,,One comes back again and again.
Dialogue: 0,0:11:20.04,0:11:22.14,Default,,0000,0000,0000,,"What is this bloody\Nobsession with red?
Dialogue: 0,0:11:23.82,0:11:26.46,Default,,0000,0000,0000,,Why do I have to do\Nthis again and again?"
Dialogue: 0,0:11:27.24,0:11:29.10,Default,,0000,0000,0000,,You know, I can't help it.
Dialogue: 0,0:11:29.10,0:11:30.12,Default,,0000,0000,0000,,It's just there.
Dialogue: 0,0:11:33.48,0:11:35.46,Default,,0000,0000,0000,,Being an artist\Nis a long career.
Dialogue: 0,0:11:36.24,0:11:43.14,Default,,0000,0000,0000,,There's a lot to do and truly\Nopening oneself to oneself is
Dialogue: 0,0:11:43.14,0:11:44.88,Default,,0000,0000,0000,,the hardest work\Nyou can possibly do.