![]() ![]() Kapoor’s 2014 whirlpool ‘Descension’ © Fabrice SeixasĪn unfolding pleasure here is the contrast between Le Nôtre’s strict lines and static chequerboard patterns, embodying ancien régime equilibrium, and Kapoor’s curving, looping aesthetic, full of movement and dynamism. Now Kapoor makes all of us the enchanted visitors, brief players flitting across his glassy pageant - which is also a contemporary drama of multiplicity and inversion, reality and illusion, individual and collective identity. Louis XIV inaugurated the gardens in 1664 with a week-long fête galante for the aristocratic elite called “Les Plaisirs de L’Île Enchantée”. But in Versailles the democratic allusion is amplified. Its convex side distorts and defamiliarises in reflection the château, which appears as a bulging, rounded form its concave side turns everything, including our own mirrored selves, upside-down.Ĭreated in 2007, “C-Curve” has delighted audiences in installations from Kensington Gardens to England’s South Downs, and this week, even before the show officially opened, crowds bearing selfie-sticks were jostling to get near it. ![]() ![]() Wittily installed beneath the château’s 73-metre Hall of Mirrors, it stands at a central point of Le Nôtre’s linear geometric design to look down on the vista of manicured lawns, broad parterres, ornamental lakes and exquisite rows of boxed hedges. The show opens with one of Kapoor’s most popular works, the highly polished reflective steel wall “C-Curve”, which circles back on itself like the letter C. ![]()
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