LLEI D'ART 14

Kiefer’sSevenHeavenlyPalaces Th In 2004 anold industrial warehouse –previously home to locomotiveproduction– located in theBicoccadistrict on the outskirts ofMilanwas converted into a contemporary art centre under the auspices of thewell-known Italian tyre brandPirelli. The convertedhanger, nearly 30m in height, retains its 9,500m 2 floor space andhas, from its inaugura- tion, been apermanent home to controversial German artist AnselmKiefer’s SevenHeavenlyPalaces ; a spectacular in- stallation formedof five large-scalepieces –quite typical of Kiefer’s output– and a collectionof gigantic, enigmatic struc- tures. These take the formof towers arranged according to a Kabbalistic order which aims to represent the seven levels of spirituality following to theHebrew esoteric tradition. The installationoverwhelms and invites us to speculate on space and time, on art, the enigma of beauty andmysticism throughworks that have aprofound emotional impact and a huge historical meaning. AnselmKiefer was born inDonaueschingen (Germany) in 1945. His attitude is one of reserve and furtiveness. He does not extendhimself in explanations. His best paintings are neo-Expressionist-style landscapes in a rather abstract approachusing a great deal ofmatter. He incorporates con- crete, pieces of rusted iron, tar, lead, wire or even rubble and ash to represent a kindof atmospherewhere everything ap- pears tobepermanently tensed: he lets us glimpse an excii- ing transcendentalism that unavoidably evokes thewreckage anddevastationof war. A student of JosephBeuys inDus- seldorf’s FineArtsAcademy between1971 and1972, Kiefer usesmatter to represent the transition from idea towork. Like unusual modernTowers of Babel, likedisconcerting vanitas, thepieces appear topay tribute to vacuity, to the insignificance of human skill andour path through existence, wherewebecome fodder for devastation anddownfall. Hugemodern totems thatmake us reflect, causing a great worry in the viewer, especially sinceKiefer wishes to leave nothing to chance and flecks his emblematic sculptureswith ciphered clues: strategically ordered stones, spots of colour or inscriptions inHebrew. Passionate about Kabbala –Jew- ishmysticism– he often introduces letters, signs or symbols pregnant withmeaning intohiswork. Heprophesies the disappearance ofman – in the sameway Foucault did – and a largepart of hiswork is inspiredby religious,mythological and historical themes, all diving into thedeepest andmost occult parts of the humanmind. I began tobuild towers at the age of four. I didn’t have any other toys andwe lived closed to a tumbledown house where I got bricks that I thenbuilt up to create small shel- terswhere I used to hidewhen it rained. Quite the obvious psychological readingofmywork, wouldn’t you say? AnselmKiefer AnselmKiefer. Cette obscure clartéqui tombedes étoiles, 2011 Foto/ Photo : AgostinoOsio©A. Kiefer. Cortesía galería LiaRumma/ CourtesyLiaRummaGallery (Milán/ Milan , Nápoles/ Naples ) Fundación/ Foundation HangarBicocca,Milán/ Milan 51