Georgia O’ Keeffe: A Life in Art | Mona Hatoum | Anish Kapoor

December 26, 2008 | 6.30 pm
Little Theatre, National Centre for the Performing Arts, Mumbai

Georgia 0′ Keefe- A Life in Art (15 mins)

This documentary from the Georgia 0′ Keefe Museum in Santa Fe, New Mexico, presents the artist in her own words, using 0′ Keeffe’s letters and archival footage from New York and the Southwest, as well as glorious views of Ghosh Ranch and many of her works from the Museum’s collection.

Anish Kapoor (29 mins)

In October 2002, Anish Kapoor completed his extraordinary sculpture Marsyas for The Unilever Series of commissions in the Turbine Hall at the Tate Modern, London. A challenging and overwhelming artwork, Marsyas is a vast red PVC membrane stretched between three massive steel rings. The title refers to a satyr in Greek mythology who was Rayed alive by the god Apollo. The film follows the making of Marsyas, from the earliest maquettes to the complex installation at the Tate. Anish Kapoor comments on each stage of the process, and on the ideas and concerns of his art. Also illustrated are orange of his other sculptures and two recent large-scale works: Sky Mirror in Nottingham and Taratantara, created for the empty shell of Baltic as this new art centre was being built in Gateshead.

Mona Hatoum (26 mins)

Mona Hatoum came to London from Lebanon in 1975. Working initially with performance and video and in the 1990s with sculpture and installations, she has exhibited widely around the world. In 2000, Mona Hatoum presented three major new works which marked the inauguration of Tate Britain, London. These works exhibited under the title “The Entire World as a Foreign Land”, developed Hatoum’s relationship between individual identity and the notion of broader cultural and geographic identity, or sense of belonging.

In this interview, illustrated with these works and other installations, Hatoum explores the diverse sources of her work and her engagement with a wide range of surprising materials. The artist talks vividly about the centrality of the body to her installations, and the ways in which her work employs changes of scale, intimations of restriction and constraint, and contradictory ideas of attraction and repulsion.