I'm in Munich for the DLD-Conference, moderating a panel with Richard Saul Wurman, Patrik Schumacher, Charles Renfro and Bjarke Ingels. Yesterday we had the opportunity to visit the Anish Kapoor show at the Haus der Kunst. The intensity of works like his 1999 Yellow struck me. I had never seen these in person before and I was utterly overwhelmed by the power of color. I don't mean this metaphorically, I mean this literally. The color was so intensely saturated that I couldn't look at it for too long and when I looked away, I was still left with the after-effects of the color. It was like staring into the sun.
This led me to thinking how the Kapoor relates to Network Culture. I am spending more time expanding on the argument in that essay this year and, if I had earlier pointed to a fascination with reality, in the form of remix and documentary, as the defining factor of art under Network Culture, how could Kapoor's Yellow fit into my framework?
First, to mark off certain works as "art", artists under Network Culture are more obsessed than ever with technique. The idea that "I could have done that" is implausible in the best work, such as the salon-painting sized photographs in the incredible "On the Beach" exhibit by Richard Misrach or Kapoor. But more than that, in Kapoor (and indeed, in the abstract photos of that exhibit by Misrach), there is another level of reality introduced: a bodily reality that harkens back to the days of Op Art.
Kapoor is not representing reality, he sets out to control it. You are no longer a viewer looking at a discreet work in this space. In Deleuzean terms, this is affect, beyond representation or subjectivity. Instead, the work's impact is total as it delivers a knock-out punch. Saturation, it seems, is reality.
Should you be at DLD while you are reading this, go see the show which ends tonight. I hope to make it back at 6.30 for a special walk-through. Drop me a line if you intend to see it.