94 search results for another place

Representing a major breakthrough in the development of Antony Gormley’s visual language, the early lead works – initiated in the mid-1970s, and developed amid the protracted geopolitical tensions of the Cold War – stand among the most icon...

Galleria Continua is pleased to present Body Buildings, Antony Gormley’s third solo exhibition at the 798 Art District in Beijing following Another Singularity (2009) and Host (2016). Body Buildings interrogates our species’ relationship to...

White Cube is pleased to present ‘Aerial’, an exhibition by Antony Gormley, in which the artist considers sculpture as an instrument for proprioception – the body’s innate capacity to sense and perceive its position, movements and orientati...

This exhibition brings together my most recent attempts to reconcile the first and the second body; if the first body, our material, biological body, is our first dwelling, then the second is our built environment, which we have become part...

Antony Gormley asks how can still, silent objects cause us to move and be moved. In Body Field, Gormley invites us to bring our own physical presence into a field of ‘sculpture as an instrument for awareness’. Immediately upon entering the...

’Can an object be the catalyst for new thoughts and behaviours?’ This exhibition - which is to be held in the Aula Magliabechiana in Uffizi - brings together works of different materials and scales that explore the body in space and the bo...

Subject by Antony Gormley is the first solo artist exhibition to be staged in Kettle’s Yard’s new galleries. Gormley’s site-specific installation will ambitiously push and test the boundaries of these spaces. The exhibition will include bot...

This project launches an initiative to develop a sculpture park at the University of East Anglia. 3× Another Time comprises three life-sized cast iron sculptures selected from Gormley’s ongoing series Another Time (1999-2013) which has bee...

The exhibition organized at the LAAC in Dunkirk offered a certain view of the place of the body in art and society since 1940. The exhibition explored the various artist approaches to the body through these decades: the desacralization of t...

Antony Gormley’s Another Time (1999) was installed against the 705 metre waterfall in Mardalsfossen, Norway. The exhibition was curated by Be Andr and was sponsored by Nesset Municipality, Nesset Sparebank, Nesset Kraft and Galleri Opdahl S...

Antony Gormley's Another Time Fibreglass III (2012) was installed on the roof of the Université Paris 1 Panthéon-Sorbonne in the Place du Panthéon for one night during the city's annual Nuit Blanche celebrations. The work continued to be o...

With States And Conditions, Antony Gormley turned the entire gallery architecture into a psychic and physiological testing ground, using sculpture to animate space and activate the built environment. The exhibition was designed to resonate ...

This exhibition featured a new installation work, Another Singularity (2008), alongside eight independent sculptures. Speaking about this installation, Gormley has said: ‘Another Singularity is a body-matrix made from rope, held in place ...

Following enthusiastic public response, the installation of Another Place (1997) at Crosby Beach, initially planned to run from July 2005 - November 2006, is now a permanent installation.

Another Place (1997) was installed as part of the Triennial for Contemporary Art held at Beaufort, Belgium.

The second presentation of Another Place (1997), following its installation at Cuxhaven, Germany, in 1997. The 100 sculptures were installed at Sola Beach, where the works occupied part of the airport, which with its fence, becomes an analo...

Another Place was an installation conceived by Antony Gormley for Wattenmeer, Cuxhaven, in Germany. It was one of a series of projects by British artists in Germany that took place as part of the project ‘Follow Me: British Art on the Lower...

The first solo exhibition in the UK since the Whitechapel show in 1981, this exhibition includes works such as Home (1984), Out Of This World (1983-84), The Beginning The Middle The End (1983-84), Mind (1983-84), Tree (1984) and Chromosome ...

The Polyhedra series replaces an anatomically described body with one made of tightly nested and sharp-edged polygonal cells. This sculptural language derives from natural structures: the polycrystalline aggregation of basalt or quartz and ...

A Meme is a cultural analogue to a gene: a form that is transmitted in thought or behaviour from one body to another, responding to conditional environments, self-replicating and capable of mutation. The first Memes were made in 2009: smal...

Does space exist inside the body as much as outside? Is consciousness itself spatial? Most of the Body & Light drawings were made at night in the Lake District at a house on Coniston Water. The open and fluid nature of drawing is investiga...

‘The drawings in this series are made from red-coloured earth collected originally by the artist from the Lot region in France and mixed with rabbit skin glue and water. Black pigment is still present - used either to shade in entire area...

Time Horizon tests the proposal of Another Place in a site of ancient human habitation: 100 bodyforms distributed over 8.5 hectares of Roman remains, including a forum, amphitheatre, acropolis and three thousand olive trees near Catanzaro, ...

Original proposal for the Wattenmeer, Cuxhaven, Germany (1995): ‘To install a hundred solid cast iron bodyforms along the coast to the west and south of the Kugelbake. The work will occupy an area of 1.75 square kilometres, with the pieces...

Galleria Continua is pleased to present Body Buildings, Antony Gormley’s third solo exhibition at the 798 Art District in Beijing following Another Singularity (2009) and Host (2016). Body Buildings interrogates our species’ relationship to...

The Echigo-Tsumari Art Triennale is one of the largest art festivals in the world. As part of the 2024 edition, the Triennale has commissioned a new sculpture titled Man:Rock V (2024). Here, a body quietly clasps a naturally formed stone an...

This exhibition brings together my most recent attempts to reconcile the first and the second body; if the first body, our material, biological body, is our first dwelling, then the second is our built environment, which we have become part...

Antony Gormley’s installation Another Place at Crosby Beach in Merseyside has been undergoing vital maintenance work. One hundred cast-iron sculptures were installed in 2005, spread across 3km of the beach and stretching almost 1km out to s...

‘Can an object be the catalyst for new thoughts and behaviours?’ This exhibition, showing from 26 February until 26 May 2019, brings together works of different materials and scales that explore the body in space and the body as space. The...

Subject is the first solo artist exhibition to be staged in Kettle’s Yard’s new galleries. Antony Gormley’s site-specific installation will ambitiously push and test the boundaries of these spaces. The exhibition will include both new work ...

This beautiful and definitive monograph examines the entirety of Gormley’s career, from his earliest sketches to his best-known public installations. With unprecedented access not only to the archives but to the working studio and to the ar...

This project launches an initiative to develop a sculpture park at the University of East Anglia. 3x Another Time comprises three life-sized cast iron sculptures selected from Gormley’s ongoing series Another Time (1999-2013) which has bee...

Monday 29 June / 6.30pm / St. George’s Hall, Liverpool / £5 /£3 booking required This special public event honours the 10th Anniversary of Antony Gormley’s Another Place, commissioned for Crosby Beach by Liverpool Biennial in partnership w...

On long-term loan to Herm Island, Another Time Xl stands alone on a hill staring out into space, facing nothing, looking at no one and no place. This is the second installation that Antony Gormley has realised in the Bailiwick as part of th...

From Time Horizon, Houghton Hall, Norfolk, UK, 2024 The construction of Houghton Hall park began in the Late Cretaceous Epoch, when chalk deposits from warm primeval seas settled to form a hard white bedrock. During the late Quaternary Per...

From Umwelt, Thaddaeus Ropac, Salzburg, Austria, 2023 My first visit to Antony Gormley’s studio was on a bright blue day in late September. I was looking forward to seeing where his sculptures are made. Concealed at street level by tall me...

From Antony Gormley: Body Field, Xavier Hufkens, Brussels, 2022 I. Homo mensura: it is hard to think of an artist whose work is better attuned to articulating the ambiguities and ambivalences of what has become known as the ‘Anthropocene’ ...

From Antony Gormley: Ground, Museum Voorlinden, Wassenaar, the Netherlands, 2022 I encountered one of Antony Gormley’s Field works for the first time at the age of thirteen, in 2005, when Field for the British Isles was shown in my hometow...

From Antony Gormley: Learning to Be, Schauwerk Sindelfingen & Kehrer Verlag, Stuttgart & Heidelberg, Germany, 2021 1. Context To be born is to be seized, but by what? By everything that the subject henceforth calls its reality, by the sub...

From In Formation, White Cube, London, UK, 2019 Where does your body begin and end? Where are you? How do you know? How does a space, and the bodies and objects within it, alter you? And how do you, in turn, change and alter them? Antony G...

From In Habit, Galerie Thaddaeus Ropac, Paris, France, 2020 ‘An exhibition without people in it is not an exhibition.’ I Walking through the new building sites of London’s Kings Cross - with its endless demonstrations of the way in whic...

In Conversation With Hans Ulrich Obrist, 2018 From Critical Mass And Expansion Field, Changsha Museum of Art, Changsha, China, 2018 HUO: You know, you’ve been to China many times and I always remember the amazing installation of ‘Asian Fi...

From Event Horizon Hong Kong, The British Council, Hong Kong, 2016 Black Holes And Experience Antony Gormley’s major installation Event Horizon has been set up in Hong Kong thanks to the concerted efforts of the British Council and a numb...

‘In trying to deal with the basic conditions of human survival, I began to examine the containers as well as the contents of the human body.’ GUY COOLS: I clearly remember meeting Antony for the first time during a ‘Catalytic Conversion...

From Human, Forma Edizioni, Florence, Italy, 2015 Arabella Natalini: Reading or listening to an artist’s words is a desire often shared by scholars, insiders and the public, who regularly seek out captions and explanations prior to even ha...

Published in The Financial Times, 3 - 4 October 2015 In 2006, walking in the southern valley of Hoy, in the Scottish Orkney islands, between 480ft high cliffs to the south and sizeable hills to the north, I came upon a grassy, open valley ...

From Second Body, Galerie Thaddaeus Ropac, Paris, France, 2015 HANS-ULRICH OBRIST - It’s fascinating because this is not our first conversation and actually, in a previous interview we also addressed the notion of expansion. It was at the ...

From Meet, Andersson / Sandström, Stockholm, Sweden, 2014 I am aboard an early morning flight bound for London. I am on my way to meet Antony Gormley, to view his latest sculptures and discuss his forthcoming exhibition in Stockholm. On th...

From Expansion Field, Hatje Cantz and Zentrum Paul Klee, 2014 There are no wall texts in ‘Expansion Field’ - no map, no signage, no words in sight. And that’s a nice touch, if only because it blocks the nervous shuttling from pillar to pos...

The experience of being inside Room is difficult to describe and nearly impossible to photograph as it cannot be consumed as an image; in fact, it was designed as an experiential work of art, an installation that can only be appreciated at ...

From Meter, Galerie Thaddaeus Ropac, Salzburg, Austria, 2013 Space is the relationship between the position of bodies László Moholy-Nagy March 2013. A working model, of foam board and paper, around one metre across and slightly les...

From Model, White Cube, London, UK I In 1973, after returning from a trip to India, Antony Gormley made a series of works based on plaster-soaked sheets placed over the prone bodies of friends. He writes that he had been touched seeing pe...

From Antony Gormley: Memes, Anna Schwartz Gallery, Melbourne, Australia, 2011 At the end of Antony Gormley’s installation Event Horizon in the centre of London in 2007, many viewers of the body-forms (which stood for three months on the ro...

From Antony Gormley: Still Standing, Fontanka in association with State Hermitage Museum, St Petersburg, Russia, 2011 On the face of it, Antony Gormley’s intervention in the State Hermitage Museum’s gallery of classical statuary is a simpl...

From Drawing Space, MACRO, Rome, Italy, 2010 Luca Massimo Barbero: I should like to start this conversation of ours, ‘over time and distance,’ with a reflection on how important it may be for visitors to MACRO who are seeking the substance...

Published in Long Horizons: An Exploration Of Art + Climate Change, British Council, London, UK, I have just driven through the Hatfield Tunnel. Above it are factory outlet shops that sell overproduced goods at reduced prices to bargain hu...

From Antony Gormley: Exposure, The Municipality of Lelystad, The Netherlands, 2010 ’The landscape disturbs my thought,’ he said in a low voice. ‘It makes my reflections sway like suspension bridges in a furious current.’ - Franz Kafka ...

From Antony Gormley: Drawing Space, Rome: MACRO (Museo d’Arte Contemporanea Roma) / Electa, 2010 There are only two subjects which interest me: body and space, or experience and extension. The human condition can only be addressed throu...

From Aperture, Xavier Hufkens, Brussels, Belgium, 2010 Nature is beautiful because it looks like Art; and Art can only be called beautiful if we are conscious of it as Art while yet it looks like Nature. - Immanuel Kant My idea of a ...

Antony Gormley, the artist behind the first IHME Project, Clay And The Collective Body, and art historian Paulo Herkenhoff discuss Gormley’s participatory work that took place in Helsinki. This conversation took place on April 4 2009 at the...

From Antony Gormley, Kunsthaus Bregenz, Austria, 2009. Antony Gormley’s radical actuality as an artist derives from his boldness in reconciling two seemingly irreconcilable factors. The first, a fundamental interest in the human body, form...

From Ataxia II, Galerie Thaddeus Ropac Gallery Paris/Salzburg, 2009 Antony Gormley’s works in this exhibition are clustered around the implications of the Greek word ‘ataxia’, which refers to an absence of order. It is a term used most fre...

From Antony Gormley: Between You And Me, Kunsthal Rotterdam, Rotterdam, Netherlands, 2008 Yet though the choice of what is to be done Remains with the alive, the rigid nation Is supple still within the breathing one;Its sentinels yet k...

From Antony Gormley, MARCO, Mexico, 2008 Hans Ulrich Obrist: To begin with what you're working on at the studio right now. Can we talk about your new project for Venice? Antony Gormley: We have three ideas for the Biennale: a rain room; a...

From Antony Gormley: Between You And Me, Kunsthal Rotterdam, Rotterdam, Netherlands, 2008 Pierre Tillet: The human being in your sculptures is most often anonymous, even when you call one of your works Another Singularity. Are you trying t...

From Statenskonstrad Catalogue 36, The National Public Art Council, Stockholm, Sweden 2007 Depending on the weather, Domain (Maria) appears with greater or lesser clarity where it stands on the roof of the University College of Dance in St...

From Antony Gormley: Blind Light, The Hayward Gallery, The Southbank Centre, London, UK, 2007 The figuration of the human body in sculpture has always held within it something of the uncanny. From ancient Greece to the present, the sculptu...

From Antony Gormley: Blind Light, The Hayward Gallery, The Southbank Centre, London, UK, 2007 What is the relationship between architecture, sculpture and drawing, when considered as ‘ways of world- making’? William Blake provides a tripty...

From Antony Gormley: Blind Light, The Hayward Gallery, The South Bank Centre, London, UK, 2007 I Undis, ignibus, aere Pictum, gemmeum, & aureum O sum, (scilicet, O nihil.) Richard Crashaw (1612/13-49), ‘Bulla’ Abstraction is an inev...

From Antony Gormley: Inside Australia. Text © 2005 Hugh Brody, reproduced by kind permission of Thames & Hudson Ltd., London First steps The first steps I took inside Australia’s western desert were on the forecourt of the Menzies’ gar...

From Mass And Empathy, Fundaçāo Calouste Gulbenkian, Lisbon, Portugal, 2004 0. In 1936, Barbara Hepworth wrote ‘Sculpture’, an article published in the collection Circle, International Survey of Constructive Art, edited by J. L. Martin,...

From A Secret History Of Clay: From Gauguin To Gormley, Tate Liverpool, Liverpool, UK, 2004 James Putnam: I suppose a good way to start would be to ask you what is your first response to day as a working medium? Antony Gormley: It is the ...

From Asian Field, The British Council, London, England, 2003 January 18-22, 2003. Five days, a short holiday from life. I used my eyes to see, my ears to listen, my hands to feel a work, a life, which came into being day by day. I use my w...

From Antony Gormley, exh. cat., BALTIC Centre for Contemporary Art, 2003, Published by Hand Books, London Antony Gormley’s new project at BALTIC could hardly create a greater contrast with his permanent and familiar intervention in the loc...

Series of questions from the public following the opening of Tate Modern, London, 2002 Greg Turner, UK: There was an incident last year when a top young rock climber decided to climb the Angel of the North. He was arrested because of this,...

From Antony Gormley, Antony Gormley interviewed by Enrique Juncosa, Lisa Jardine, Michael Tarantino, Centro Galego de Arte Contemporanea, Santiago de Compostela, Spain, 2002 Enrique Juncosa: One of the first things I found interesting abou...

From Some Of The Facts, Tate St Ives, Cornwall, UK, 2001 In the classical art of rhetoric, mnemonic techniques for aiding the memory were highly developed. Quintillian, for example, recommends that in order to memorise a speech, the orator...

From Total Strangers, Edition Cantz, Cologne, Germany, 1999 ‘With Total Strangers, there was a circuit of uncertainty that went from the first meeting with the work in the gallery and back onto the street; you become uncertain of your posi...

On www.fdavidpeat.com (1996) We began discussing the way in which creative work begins within the physical body, frequently in the form of muscular tensions. During the gestation of the work these tensions have to be contained within the b...

From Still Moving: Works 1975-1996, Japan Association of Art Museums, Tokyo, Japan, 1996 Three figures on the moist and shiny sand: one standing upright, one crouching, and one kneeling. They form a group, but at the same time each seems e...

Pamphlet: Field For The British Isles, Hayward Gallery, London, UK, 1996 Antony Gormley’s Field For The British Isles is a startling and arresting sight: thousands of unglazed, fired, small clay figures, standing closely together, all star...

From Critical Mass, Stadtraum Remise, Vienna, Austria, 1995 The lack of an absolute standard of rest meant that one could not determine whether two events that took place at different times occurred in the same position in space. At what ...

From Antony Gormley, Phaidon, London, UK, 1995 and 2000 ’The continuation into the twentieth century of a traditional treatment of the human figure is not given a place in these pages …’ - Rosalind Krauss, Passages in Modern Sculpture ...

From Antony Gormley, Phaidon Press, London, UK, 1995 Antony Gormley: You ought to know that it was reading The Story of Art at school that I think inspired my interest in art. Ernst Gombrich: Really! AG: ...and made the whole possibility...

From ‘Intimate Architecture - Antony Gormley’, Everything, no. 13, London, April/May, 1994 Can we talk about the work you showed in the old prison buildings in Charleston, because I think there’s an interesting link with some of the work i...

From Antony Gormley, Moderna Galerija, Ljubljana, Slovenia, 1994 Marjetica Potrc: When I first saw the Field in Salvatore Ala’s gallery in New York, I was amazed by seeing thousands of small clay figures staring at me. I felt uneasy as if ...

First Published in Antony Gormley, exh. cat., Malmö Konsthall, Malmö, Sweden / Tate Gallery, Liverpool, England / Irish Museum of Modern Art, Dublin, Ireland. London: Tate Gallery Publications, 1993 Declan McGonagle: Why would you say you ...

From Antony Gormley: Field And Other Figures, Modern Art Museum of Fort Worth, Texas, USA, 1993 Antony Gormley’s works reflect and embody a tragic paradox. The artist’s response to questions of human survival and the meaning of life, they ...

From Antony Gormley, exh. cat., Malmö Konsthall, Malmö, Sweden / Tate Gallery, Liverpool, England / Irish Museum of Modern Art, Dublin, Ireland. London: Tate Gallery Publications, 1993 ‘I celebrate myself, and sing myself, And what I assu...

First Published in Antony Gormley, exh. cat., Malmö Konsthall, Malmö, Sweden / Tate Gallery, Liverpool, England / Irish Museum of Modern Art, Dublin, Ireland. London: Tate Gallery Publications, 1993 Sometimes it is said today that the work...

From Antony Gormley, Louisiana, Museum of Modern Art, Humlebaek, Denmark, 1989 ‘The work is a point between origin and becoming. Like a seed, between death and the new life there is a point of stasis and silence, a time for reflection. Scu...

From Antony Gormley, Stadtische Galerie Regensburg, Frankfurter Kunstverein, Frankfurt, Germany, 1985 ‘I believe myself to be a return in sculpture to the human outlook, without in any way sinking back into the flabby sentimentalising or t...

From Transformations: New Sculpture From Britain, Biennale de Sao Paulo & Museu de Arte Moderna, Rio de Janiero, Brazil, 1983 In Antony Gormley’s work existence itself mediates between perception and truth. Inherent in his objects is a mys...