The Return of the Aura: Anish Kapoor: The Studio and the World

Denis Vidal

According to Rashed Araeen, the well-known contemporary artist and a fierce critic of the contemporary art world, 'the problem with the policies of multiculturalism, or theories of cultural diversity, is that they have failed to address the main issues of art as an individual practice rather than an expression of community as a whole, or of art as an expression"ofpost-colonial subject who in order to come to terms with his or her modernity, must to some extent free him - or herself from the constraints of a specific culture' (Araeen 1999: 233). There is still a lot ofsociological truth in the point Rasheed Araeen made 14 years ago. Many contemporary artists, all over the world, have accepted, more or less willingly, to define themselves or to be defined through a logic which continues 'to privilege cultural differences as the basis of artistic difference by the post-colonial artist' (Araeen 1999: 23). However, one should not forget that recognition of this dilemma is neither particularly new nor exclusively determined by the 'West'. It was played out over and over in colonial times. To give just one example, modem Bengali artists and intellectuals were always aware of it and they took very contrasted positions in response to it (Guha Thakurtha 1992). One should not forget exhortations like the one made by Rabindranath Tagore in 1926: 'I strongly urge our artists vehemently to deny their obligation to produce something that can be labelled as Indian art, according to some old world mannerism' (Vidal 2011). Luckily enough such exhortations did not remain completely unheard, even before artists like Rasheed Aareen took the 'historical responsibility' of taking up the torch. But one can't perhaps find any better example of it in recent times than the work and career of Anish Kapoor, the well-known sculptor of Indian origin (Figure 3.1). In his personal case, as in that of a few other 'post-colonial' artists and intellectuals, it no longer makes sense to ask if they successfully managed or not to find their place in 'the historically transforming process of modernity'; it is rather to assess how their work effectively obliges us to revise some ofthe stereotypes which are still commonly used when any definition of 'modernity' or 'post-modernism' is at stake, whether in the arts or in any other cultural domain.

39 40 • Arts and Aesthetics in a Globalizing World

between most that of Bourdi not preclude tl world and the It wouid St or less everytl cally decons\.rl ambition to ge or the explicit recourse to ilh may be profes agreeing or ne defending a ra do it either in detail here. Anish Kap< of an artist do them into acc, of money in al describing in Figure 3.1 Anish Kapoor and Homi Bhabha al the speaker's forum, India Art Summit (20-23 January 2011). Image courtesy of V. P. Balakrishnan. il. More fund" radiate sorne s of 'illusionism ways of trigge A game of mirrors precise1y in su Whatdistin Bourdieu's sociological analysis of art and culture remains to this day one of the and by sociolç most systematic attempts to analyse, scrutinize and deconstruct the mysterious aura how they valU! that surrounds the idea of art (Bourdieu 1965, 1966, 1992). The main focus of his used in arder t analysis is to demystify the strategies that social actors employ - consciously or not similar insight - to present artworks as if they subscribed to a logic in which social detenninism very process ( and personal interest do not play a part and where universal values and ail sorts of help us to dec. idealism prevail. that Anish Ka] In many ways Anish Kapoor would seem to embody, perhaps more than any art critics, jor other artist, the perlect archetype of ail that Bourdieu is targeting: whether through material in SOI Kapoor's refusai to be defined by his personal biography, the way he relates to money, or how he deliberately cultivates a universal conception of 'art' and of the 'artist'. There is no aspect of his artistic identity which seems to escape the devas­ A question 1 tating forrn of sociological criticism which is at the core of Bourdieu's work and that continues to inspire a huge number of critics of the contemporary art world There are vari today. There is, however, a paradox that one cannot fail to notice if one attempts to rather classica apply a Bourdieu-like analysis to Anish Kapoor: that is, indeed, the striking parallel the art world t The Retum ofthe Aura • 41

between most of the analysis that Kapoor applies to bis own artistic practice and that of Bourdieu's on art, more generally, even if such 'family resemblance' does not preclude them from having otherwise nearly opposite perspectives about the art world and the practice of art. It would seem, indeed, that Anish Kapoor openly values and advocates more or less everything that Bourdieu attempts - as far as he is concemed - to criti­ cally deconstruct in his analysis of the art world: whether it is the acknowledged ambition to get global recognition, based on bis belief in universal aesthetic values; or the explicit search for metaphysical depth in his artistic work, self-acknowledged recourse to illusionism but also, more generally, practically all the opinions that he may be professing as an artist. But one should also recognize, however - whether agreeing or not with his point of view - that even if Anish Kapoor is effectively defending a rather idealistic and universalist conception of art, he certainly not does do it either in an idealistic manner or a sociologically naïve one, as 1 will show in detail here. Anish Kapoor would never say, for example, that the social and cultural origins of an artist do not influence bis work; but he would argue that one should not take them into account for appreciating artworks. Neither will he deny the importance of money in art; rather he will highlight it in an even cruder manner than Bourdieu, describing in detail how the price of an artwork deeply colours the reception of mary it. More fundamentally, he will insist on the fact that any good work of art should radiate sorne sort of 'magical' aura in the eyes of the viewer, resting on subtle forms of 'illusionism' and offetisbism; not only that, but he will always be 100king for new ways of triggering such 'illusionist' effects. As a matter offact, he believes that it is precisely in such effects that the very essence of art resides. What distinguishes fundamentally the analysis ofart by an artist like Anish Kapoor . the and by sociologists is not so much their respective manner oflooking at it, but rather lura how they value what they find in it. While in the case ofsorne artists, such analysis is , his used in order to understand how someone makes art, in the case of sociologists, very not similar insights are used to analyse but also, sometimes, sometirnes, to demystify the lism very process of making it. But this is also why an anthropological perspective may s of help us to deconstruct such a game of mirrors - more precisely, the sort of 'mirrors' that Anish Kapoor knows so weIl how to manipulate not only when he is answering any art critics, joumalists and art historians, but also that he is using as a privileged ugh material in sorne of bis most famous works of art.! 5 to the vas­ A question of conceptual authority and )fld There are various ways of approaching the anthropology of art. One may do it in a s to rather classical manner and try basicaHy to unveil the social and cultural structure of lHel the art world today in a manner reminiscent ofthe method employed by sociologists at two different School of Art fi and it has remai strongly associ, Indian culture. both the shape, associated with them indirectly the first years c visual world on fashionable arn( he gave show cl at being Indian he nevertheless presence ofrecc of this attitude j

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What happens, change its reas( The Retum ofthe Aura • 53

~thing to your body meaning and that both in a certain way are part of a certain language of the abstract. 'erformative; like a The founs that 1make have a sort of human recall; 1don't hope that it is an early human l certain place and record, a primordial human record; it is what 1am after; and colour, of course, does that of vertigo. 28 incredibly welP'

13Y playing with colour and scale, Anish Kapoor attempts to elicit emotive responses Which go beyond any discursive meaning and which may attain sorne deeper level of t~sonance, among the viewers of his works: ,tantial with the is does not mean Red is a colour l've felt very strongly about. Maybe red is a very Indian colour, maybe :s not hesitate to ifs one of those things that 1 grew up with and recognise at sorne other level. Of course ffective ways of ifs the colour of the interior of our bodies. In a way ifs inside out, red. 32 ,associated with

The artist as an illusionist made it. io precisely that. lt is not only the colour, however, that one notices immediately in the sculptures of Anish Kapoor. Most ofthem are remarkable as weIl for the exceptional quality oftheir material: whether it is stone, powder colours, mirrors, textiles or anything else, the t of one of his same desire for perfection is clearly visible. Anish Kapoor, who certainly manages to h.e middle of a get serious fundiftg for creating his art, is also spending it lavishly to obtain exactly ~'s title: 'When the sort of making that he wants. Such a preoccupation may appear, however, slightly contradictory with the fact that he often stresses his apparent indifference' for the to his work is materiality ofhis sculptures. So, one may ask why he would not satisfy himself simply often used in with the use ofany readily available material, like so many artists have done throughout readed label of the twentieth century. To answer this question is to arrive at a last dimension - perhaps use of aIl sorts also the most fundamental one - in his conception of his work: that is, the very fact findu, Jewish, that he considers his own artworks, but also more generally aIl artistic activity, as a l - by playing foun of illusionism: '1 believe very strongly that it is not something as a real object.' 33 Lttempts, as he The reason, for example, that he is giving for using mirrors of unequalled quality 1. in his works has little to do with the rather striking beauty of their surface, noticed by anyone who looks at them; but rather, according to him, because this is the only way he could find to obtain the sort of illusion that he is aiming at, to give to the viewers the illusion of being confronted not so much with a material sculpture as with sorne uncanny reflection of the world itself. One Can give another example of 1 more recent this by referring to another of his famous sculptures which consists of an enormous emphasis on stone in the shape of a menhir with an empty volume, in the shape of a cube, Modem with carefully carved in its centre. The main point of this work, according to the artist, is than (2,012), to direct the attention of the viewer to this dark cavity while the stone itself serves ~ of his best- only to frame the void.

What happens, having made this object, if 1put it next to another object? How does that lropensity for change its reason for being in the world, its effect on the body? One of the phenomena 54 • Arts and Aesthetics in a Globalizing World

that l've worked with over many years is darkness. Darkness is an idea that we ail know level, also, what n about, in a way an idea about the absence of light. Very simple. What interests me very idea that any r however is the sense of the darkness that we carry within us, the darkness that's akin And if one puts asi to one of the principal subjects of the sublime - terror. A work will only have that deep the vocation of art resonance that 1try to indicate is there if the kind of darkness that 1 can generate, let's and historieal back, say in a block of stone with a cavity in it that's very dark, if the resonance that's in that deeper understandil stone is something that is resident in you already. That's to say that you are completing One should not that circle, but perhaps without knowingly you're completing that circle. It's not a verbal aesthetics has not s connection, but a bodily one. That's why sculpture occupies the same space as YOUf body.34 one can see from th dedicated to the be surrounding conten Anish Kapoor is then more interested in the idea of creating sorne specifie illusory art and aesthetics al effect in his sculptures than to highlight the quality of their 'thingness' as such: the sociological re What are your limitations as a sculptor? between 'popular', garde' ones. What i Oh they're manifold. 1don't know. 1 don't know. Do YOll know, much of the work that l've made over many years now proposes the idea that for every forrn there is a kind, precisely how he m there is a kind of counterpoint in non-form. One of the things that 1 see myself battling As we have sef with now is not the non-forrn, because in a way 1 feel l've done sorne of that, but the that one could sin form. So what happens when there's form and no non-form? Where can 1go with that? busied themselves That's a battle 1 need to investigate, fighl, whatever. 35 aesthetics. Yet neitl conception of art At this point, howevèr, it may be time to leave Anish Kapoor to his own artistic contemporary art ~ 'fight' and to conclude by reassessing briefty bis conception of art from an anthro­ When one exan pological perspective. prets his work. but do - often quite suc art world and for th The return of the aura and to promote it ~ forrn of second de~ Hans Belting has claimed that with the evolution of contemporary art, we have make an art which arrived at a final point wbich can be legitimately defined as 'the end of art', at the status of the art least in the traditional forrn as understood in Europe from the Renaissance onward any means to get : (Belting 1,984). And there is little doubt, indeed, that art history has been marked the fascination lin1 in the twentieth century by the radical attempts made by various 'avant-gardes' to symbolism associa deconstruct the artistic practices and most of the accepted ideas and expectations By restoring a 1 upon wbich the idea of art had developed and had been appreciated previously. tally defined once Meanwhile, during the same period, most art bistorians have been equally busy Anish Kapoor def deconslructing most of the common notions and perceptions upon which the very Theodor Adorno, idea of art history had been founded at least from the European Renaissance: the become definitely idea of art as fundamentally distinct from skilled craftsmanship; the cult of the wealthy patrons IiI artistic genius as an individual which outplays the restrictions imposed by bis time writers like Romi and culture; or the common idea that 'great art' is recognizable by the fact that it demonstrates clem is able to 'speak' to anyone as weIl as to 'move' everyone. At a more fundamental popular and nostal, The Retum ofthe Aura • 55 l that we aIl know '\Tel, also, what most art historians and anthropologists have questioned is the Vhat interests me .Very idea that any notion of aesthetic may be given any sort of universal relevance. rkness that's akin 36 And if one puts aside a few well-known exceptions (Aby Warburg, for example ), Ily have that deep the vocation of art history has mostly become to provide the sort of socio-cultural :an generate, let's and historical background analysis, which is supposed to give a better informed or mce thal's in that deeper understanding of art. lU are completing :. It's not a verbal One should not conclude, of course, that the conventional conception of art and Ile space as your esthetics has not survived. As a matter of fact it has flourished more than ever, as one can see from the sort of gloss used for attracting the crowds to the retrospectives dedicated to the best-known artists. Sirnilarly, the ferocity of sorne of the debates ,pecitic illusory surrounding contemporary art demonstrates clearly enough that oIder conceptions of ss' as such: art and aesthetics are far from being dead. As a matter offact, any attempt to analyse the sociological realities of artistic taste show the profound chasm which exists between 'popular', 'conventional' or 'classic' tastes and more 'elitist' or 'avant­ of the work that garde' ones. What is fascinating, however, in the case ofAnish Kapoor and his art, is 1 there is a kind, precisely how he manages to eschew such sociologieal and well-entrenched divides. : myself battling As we have seen, neither his works nor his conception of art are of the sort ~ of that, but the that one could simply detine by placing bim among the many artists who have Il 1go with that? busied themselves in deconstructing a more conventional conception of art and of aesthetics. Yet neither can one suspect him of simply following a more conventional conception of art and ignoring what has been going on in the evolution of the lis own artistic contemporary art world. rom an anthro- When one examines carefully not only how Anish Kapoor conceives and inter­ prets bis work, but also how it is received, it appears clearly that what he manages to do - often quite successfully - is to tind new ways acceptable both for the elite ofthe art world and for the general public to restore a rather conventional conception ofart and to promote it with great enthusiasm and without any sort of ironical twist or any , art, we have form of second degree interpretation; he is endorsing very explicitly his ambition to ~nd of art', at make an art which has an 'universal' appeal and which mythologizes, once more, ,sance onward the status of the artist on the public scene. And he proclaims openly his right to use ; been marked any means to get such recognition: whether it is the scale of sorne of his works, 'ant-gardes' to the fascination linked to their priee, the quality of the materials used or the sort of 1 expectations symbolism associated with them. reviously. By restoring a rather classical conception of art where artworks are fundanaen­ tally detined once more by the aura they may possess in the eyes of the beholder, 1 equally busy 'hich the very Anish Kapoor deties those who, following in the steps of Walter Benjamin or !laissance: the Theodor Adorno, believe that such traditional conception of art has nowadays le cult of the become detinitely obsolete. Finding powerful allies in the general public and with :d by his time wealthy patrons like Lakshmi Mittal or with intellectual luminaries and celebrated he fact that it writers like Horni Bhabha or Salman Rushdie, the recognition of Kapoor's work : fundamental demonstrates c1early that the importance of aura in art does not refer only to a popular and nostalgie conception of art and of its history. 56 • Arts and Aesthetics in a Globalizing World

As a matter offact, it is principally in the work of essayists like Walter Benjamin, 'Transcript c the Frankfurt School and their successors that such a notion is supposed to remain 'Entretien a\ forever the hallmark of an extinct era. But while the use of this notion may have 'Anish Kapo taken a more restrictive meaning in the work of Benjamin and a few others after 'Anish Kapc him, one may argue, more generally, that it has never disappeared, in reality, 'Bhabha, H. either in the 'world of art' or elsewhere, because of the advent of new techniques 'Transcript ( of mechanical reproduction like photography or the phonogram at the end of the 'Entretien a' nineteenth century.37 Sociologists of art as diverse as Natalie Heinnich (1,984) and 10. For example Bruno Latour or Antoine Hennion (1,997) have summarily but rightly insisted on the is often vagi fact that such new modes of reproduction helped to 'sacralize' works of art rather sexual. You than desacralize them. One should not be too surprised, then, if the very notion of Il. 'Entretien a' aura and the whole conception idealist conception of art traditionally associated 12. 'Anish Kapl with it has come back with a vengeance to haunt the very centre ofthe contemporary 13. 'Entretien a art world. This does not mean, however, that one should be, once more, sociologi­ 14. Idem. cally naïve and believe, for example, that it happened only because of the prevailing 15. 'BBC Radil historical and sociological conditions or because of any forro of technological 16. Idem. 'advances' as such. 17. 'Transcript Alfred Gell was certainly right to stress the methodological importance of 18. Idem. recognizing any forro of 'art' as a 'technology' by itself, from an anthropological 19. 'We must perspective. But one should not forget either that, in doing so, he was simply 'Entretien < recalling a well-khown fact that few 'artists' may afford to ignore. The real 20. 'Transcript challenge, however - both for artists and for anthropologists - is rather to grasp 21. Idem. what this often disconcerting 'technology' is more specifically about. And one may 22. Idem. perhaps acknowledge that Anish Kapoor is one of these artists who has managed to 23. Idem. find sorne sort of answer to this question in our time, even if it is not the only one. 24. Idem. This is why it is worth, 1 believe, not only considering his work, but also what he 25. Dali never has to say about it - even ifwhen listening to his words, one may he rather tempted, be generou in his case, to evoke the legendary metis of the ancient Greeks rather than any post­ Dali-Avid: modern notion of métissage or hybridity. (Descharn( 26. 'Entretien 27. Idem. 28. 'Transcripi 'Entretien Notes 29. 'Transcrip 30. The work 1. Hundreds ofarticles and dozens of books and catalogues have been dedicated to art. Anish Kapoor. He has never ceased also to give interviews to art critics, curators 31. 'Entretien and journalists throughout his career. 1 have used here the most representative 32. 'Transcrip ofthem. 'Entretien 2. For a fuBer analysis of this specific aspect of Anish Kapoor's personality, see 33. 'Entretien also Vidal (2009). 34. 'Transcrir 3. The Tate Gallery 1982--84: Illustrated Catalogue ofAcquisitions (1986). 35. Idem. The Return ofthe Aura • 57

Walter Benjamin, 'Transcript of the John Tusa Interview with the sculptor Anish Kapoor' (2006). pposed to remain 'Entretien avec Farah Nayeri' (2008). notion may have 'Anish Kapoor: Smooth operator', Independent (2003). 1 few others after 'Anish Kapoor', Guardian (2006). eared, in reality, 'Bhabha, H. K., 'Elusive Objects: Anish Kapoor Fissionary Art' (2009: 25, 27). f new techniques 'Transcript of the John Tusa Interview with the sculptor Anish Kapoor' (2006). at the end of the 'Entretien avec Farah Nayeri', Bloomberg News (2008). Illich (1,984) and For example, he stated: '1 have always been interested in involuted form, which ly insisted on the is often vaginal, fernale. It would be dishonest not to recognise that ifs blatantly Jrks of art rather sexual. You can't be coy about if (Wullshlager 2012). le very notion of Il. 'Entretien avec Anish Kapoor' (20Il). mally associated 12. 'Anish Kapoor by Ameena Meer' (1990). he contemporary 13. 'Entretien avec Anish Kapoor' (2011). more, sociologi- 14. Idem. of the prevailing 15. 'BBC Radio 3 Entretien avec Anish Kapoor par Joan Bakewell' (2001). Jf technological 16. Idem. 17. 'Transcript of the John Tusa Interview with the sculptor Anish Kapoor' (2003). 1 importance of 18. Idem. anthropological 19. 'We must have had one hundred people involved in the making of this' he was simply 'Entretien avec Anish Kapoor' (2011). ~nore. The real 20. 'Transcript of the John Tusa Interview with the sculptor, Anish Kapoor' (2003). rather to grasp 21. Idem. It. And one may 22. Idem. has managed to 23. Idem. ot the only one. 24. Idem. ut also what he 25. Dali never seemed to hide his apparent attraction to money, even ifhe could also rather tempted, be generous. This rnay also explain why the unflattering nickname of 'Salvador r than any post- Dali-Avida Dollars' given to hirn by André Breton rernained attached to him (Deschames 1987: 36). 26. 'Entretien avec Anish Kapoor' (2011). 27. Idem. 28. 'Transcript of the John Tusa Interview with the sculptor Anish Kapoor' (2003). 'Entretien avec Farah Nayeri' (2008). 29. 'Transcript of the John Tusa Interview with the sculptor Anish Kapoor' (2003). 30. The work of Cy Twombly illustrates perfectly this tendency in contemporary en dedicated to art. :ritics, curators 31. 'Entretien avec Anish Kapoor' (2011). •representative 32. 'Transcript of the John Tusa Interview with the sculptor Anish Kapoor' (2003). 'Entretien avec Farah Nayeri' (2008). lersonality, see 33. 'Entretien avec Anish Kapoor, Monumenta' (2011). 34. 'Transcript of the John Tusa Interview with the sculptor Anish Kapoor' (2003). : (1986). 35. Idem. 58 • Arts and Aesthetics in a Globalizing World

36. While Warburg had been one of the first art historians to promote a rigorous 5 May, httl methodology for interpreting artworks in their historical and sociological html#axzz2! contexts, his way of analysing the everlasting appeal of sorne of them was going well beyond such interpretations (on this topic, see for example Other texts Didi-Huberman 2002). Araeen, R. (1 ~ 37. For a rather confusing definition of the notion of aura, one may always look Joumey TO\ at the often contradictory use that Benjamin himself made of this notion; views ofart and how the interpretation of his thinking on tbis topic became sorne sort of Belting, H. (1'; small cottage industry - a fact widely acknowledged, even by bis most ardent Benjamin, W. interpreters. One may find, for example, on the first page of an edited volume (1939) Pari entirely dedicated to bis work the following exergue: 'More books on Benjamin Refiections, and still the pile grows ... Benjamin prose breeds commentary like vaccine in a Bhabha, Romi lab' (Cole 1998: 8). For an admittedly more restrictive definition of 'aura', one Kapoor, Lo may look however at Benjarnin's famous essay 'The Work of Art in the Age of Bourdieu, P. ( Mechanical Reproduction' (1935-6); or examine how this notion is used (rather Paris: Seui than 'defined') by most of his commentators: aura is then generally identified Bourdieu, P., ( as 'the power and authority that a unique or original work of art possessed by Essai sur li virtue of its authenticity, and which disappears, for Benjamin, as the actual Bourdieu, P. " object of the work of art becomes a reproducible entity, as in a photograph or a Paris: Les • film, for example' (Steinberg 1996: 95). Coles, A. (19< Deschames, F Bibliography Didi-Huberm fantômes s Interviews with Anish Kapoor GeU, A. (199 'Anish Kapoor by Ameena Meer' (1990) in BOMB 30/Winter 1990, ART, http:// Press. Guha-Thakur bombsite.com/issues/30/articles/1273 Nationalis 'Interview d'Anish Kapoor par Joan Bakewell' (2001) BBC Radio 3, 5 January. 'Anish Kapoor: Smooth operator' (2003) Independent, 24 November. Hansen, M. 336-74. 'Anish Kapoor' (2006) Guardian, 23 September. Anish Kapoor in conversation with Marcello Dantas (2007) http://anishkapoor. Heinich, N. 1 de sa repr com/178/ln-conversation-with-Marcello-Dantas.html vol. 49: 11 'Entretien avec Farah Nayeri' (2008) Bloomberg News, 30 October. 'Entretien avec Anish Kapoor, Monumenta 2011 (1)' http://www.dailymotion. Hennion,A. com/videoJxinhjq_entretien-avec-anish-kapoor-monumenta-20Il_creation Once - aI Mapping 'Entretien avec Anish Kapoor, Monumenta 2011 (2)' http://www.dailymotion. Universit: com/video/xituzz_ii-anish-kapoor-presente-leviathan-monumenta-2011-2eme­ partie_creation King,C. (ed Universit Tusa, J. (2003) 'Transcript of the John Tusa Interview with the sculptor Anish Kapoor', 6 July, http://www.bbc.co.uk/radio3/johntusainterviewlkapooc Steinberg,1\' of Histor transcript.shtml (ed.), Ne' Wullshlager, J. (2012) 'Lunch with the FT: Anish Kapoor' Financial Times, The Retum ofthe Aura • S9

)mote a rigorous ·... 5 May, http://www.ft.comlcms/sl2/04b333fO-9457-llel-bb47-00l44feab49a. md sociological html#axzz2gyBoe2TT Sorne of them ;ee for example ther texts aeen, R. (1999) 'The Artist as a Post-colonial Subject and this Individual's my always look Joumey Toward the "Centre"', in C. King (ed.) Views of Difference, different of this notion; views ofart, N~w Haven: Yale University. le sorne sort of Belting, H. (1983) L'histoire de l'arust-elle finie? Paris: Folio Essais. his most ardent Benjamin, W. (2012) L'œuvre d'art à l'époque de sa reproductibilité technique edited volume (1939) Paris: Allia; also in Benjamin, W. (1968) Illuminations: Essays and Œ on Benjamin Reflections, Hannah Arendt (00.), New York: Schocken Books. ke vaccine in a Bhabha, Homi K. (2009) 'Elusive Objects: Anish Kapoor Fissionary Art', in Anish 1 of 'aura', one Kapoor, London: Royal Academy of Arts, 25-39. t in the Age of Bourdieu, P. (1992) Les règles de l'art: genèse et structure du champ littéraire, is used (rather Paris : Seuil. 'ally identified Bourdieu, P., Castel, R., Boltanski, L. and CharnborOOon, J. C. (1965), Un art moyen: possessed by Essai sur les usages sociaux de la photographie, Paris: Les Éditions de Minuit. as the actual Bourdieu, P. and Dardel, A. (1966), L'amour de l'art: Les musées et leur public, lotograph or a Paris: Les Éditions de Minuit. Coles, A. (1998) [he Optic ofWalter Benjamin, London: Black Dog Publishing. Deschames, R. (1987) Salvador Dali, Paris: Les nouvelles éditions françaises. Didi-Huberman, G. (2002) L'Image survivante. Histoire de l'art et temps des fantômes selon Aby Warburg, Paris: Minuit. Gell, A. (1998) Art and Agency: An Anthropological Theory, Oxford: University ART, http:// Press. Guha-Thakurta, T. (1992) The making ofa new 'Indian'Art: Artists, Aesthetics and 5 January. Nationalism in Bengal, 1850-1920, Cambridge: Cambridge University Press. Hansen, M. B. (2008) 'Benjamin's aura', Critical Inquiry, 34 (Winter 2008): 336-74. nishkapoor. Heinich, N. (1983) 'L'aura de Walter Benjamin. Note sur "L'œuvre d'art à l'ère de sa reproductibilité technique"', Actes de la recherche en sciences sociales, vol. 49: 107-9. lilyrnotion. Hennion, A. and Latour, B. (2003) 'How To Make Mistakes on So Many Things at 'eation Once - and Become Famous for it', in H. Gumbrecht and M. Marrinam (eds), Lilyrnotion. Mapping Benjamin. The Work ofthe Art in the Digital Age, Stanford: Stanford :Hl-2erne- University Press. King, C. (ed.) (1999) Views ofDifference, Different Views ofArt, New Haven: Yale Jtor Anish University Press. N/kapoor_ Steinberg, M. P. (1996) 'The Collector as Allegorist: Goods, Gods, and the Object of History', in Walter Benjamin and the Demands ofHistory, M. P. Steinberg àl Times, (ed.), New York; Comell University Press. The Pra ContI

The Sazmanab Pr, apartment block, Approaching by ( the sprawling pip which Sazmanab , is no sign outside no windows to pe gain entry is a sm a narrow white rc other to the office open, with a pro~ opposite. l A boo} Pacifie. A small si Sazmanab Pro, tions operating w Sazmanab operatt official permissic Culture, who are On the last count exhibitions, usual to seek a permit ! exhibitions when of the censors; t official, state-spo Contemporary Al by Andy Warhol In such a cont CUITent art-maki] Vidal Denis. (2014) The return of the aura : Anish kapoor : the studio and the world In : Kaur R. (ed.), Dave P. (ed.) Arts and aesthetics in a globalizing world Londres : Bloomsbury Academic, (51), 39- 60. (A.S.A. Monographs ; 51). ISBN 978-1-

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