21 search results for membrane

Ground brings together work spanning Gormley’s career, from his early lead sculptures to new installations that are custom made for Voorlinden: ‘Sculpture is no longer a medium of memorial and idealisation but a context in which human bein...

This exhibition is my largest in Germany to date, bringing together works from the beginning of my sculptural journey to the most recent. Using the specific qualities of the different spaces within Schloss Derneburg, I have tried to presen...

This exhibition was based on a series of nine etchings completed between February and September of 1990. The etchings that formed the basis of this exhibition were a new departure in the development of the work - by allowing the soft ground...

Solo exhibition including A Case For An Angel I (1989), Baring Light I (1989), Room IV (1990), Seeds II (1989/93) and Witness (1988). The main work in this exhibition was the 27-foot wing-span Case For An Angel I, a lead-covered mould take...

I read CS Lewis’ Space Trilogy in my early teenage years: Out of the Silent Planet, Voyage to Venus and That Hideous Strength. Lewis’ hero, Ransom, travelled through space in a coffin/vessel. Ever since my early childhood experience of the ...

I have long been interested in a neural network that is not just about the brain but that treats the body as a connective zone. The Neurone works are similar to earlier drawings where an Insider is connected to weather. The Neurone drawing...

‘Gormley’s use of his own bodily fluids as a medium for drawing spanned a number of years, from the mid-1980s through to the early 1990s. To Gormley, blood and semen are life materials which, in their giving, imply sacrifice. Thresholds a...

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 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...

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 ...

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 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...

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 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 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 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...

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...

From Learning To See, Galerie Thaddaeus Ropac, Salzburg, 1993 ‘You taught me language: and my profit on’t is, I know how to curse: The red plague rid you, for learning me your language.’ Shakespeare, ‘The Tempest’ Antony Gormley’s fi...

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...