- New York Clearing
- February 4, 2020 - March 27, 2020
NEW YORK'S BROOKLYN BRIDGE PARK
As part of the international art project, CONNECT, BTS, introduced by BTS, pioneering global superstars from Korea, New York’s Brooklyn Bridge Park Pier 3 will be the site of the creation of a vast ‘drawing in space’ by internationally acclaimed British artist Antony Gormley, which will be on show free to the public from 5 February – 27 March 2020.
New York Clearing (2020) is conceived as a single line made up of more than 11 miles of square aluminium tubing that loops and coils without beginning or end, turning itself into an environment for the viewer that counters the grid of modernism and the city with swooping lines of energy. It will be situated on a landmark site at Pier 3, in Brooklyn Bridge Park, overlooking the East River.
Speaking about New York Clearing, Antony Gormley said: “This is the first time that I have attempted to make Clearing without architectural support. I am enormously excited about the opportunity of making this energy field in conversation with Manhattan across the waters of the East River. It can be seen as an evocation of human connectivity, a materialisation of the energy of the people that view it and the people that made it.”
“We’re honoured to host Antony Gormley’s New York Clearing here at Brooklyn Bridge Park,” said Eric Landau, Brooklyn Bridge Park President. “We have a long history of incredible art installations in the Park, and can’t think of a better place than Pier 3 for this amazing piece.” CONNECT, BTS is an international art project taking place in five cities on four continents, introduced by BTS, open free to the public in Berlin, Buenos Aires, London, New York and Seoul, and developed by a group of curators under the artistic direction of independent Korean curator, Daehyung Lee.
CONNECT, BTS draws motifs from parts of BTS' philosophy that centers around diversity, love and care for the periphery as well as communicating and fostering connections that transcend barriers. Other artists featured in the project include: Jakob Kudsk Steensen (Serpentine Galleries, London), performances by 17 international artists including Jelili Atiku, boychild with Josh Johnson and Total Freedom, Cevdet Erek, Marcelo Evelin, Bill Fontana, Maria Hassabi, Mette Ingvartsen with Will Guthrie, Baba Murah and Candomblé Berlin, Antonija Livingstone and Nadia Lauro with Mich Cota, Kennis Hawkins and Stephen Thompson (Gropius Bau, Berlin); Tomás Saraceno (CCK, Buenos Aires); Ann Veronica Janssens and Yiyun Kang (Dongdaemun Design Plaza, Seoul).Read more
- October 18, 2019 - April 19, 2020
Busan Museum of Art
This exhibition represents the inaugural event in a new series called “Lee Ufan and His Friends” at Space Lee Ufan. The first solo exhibition in Korea of new works by Gormley will include sculptures FALL II, DOUSE, STREAM, and REACH III from his ’Rooter’ series, together with 16 drawings.
While Antony Gormley and Lee Ufan belong to different generations, their works have much in common in terms of artistic context. When Lee spoke with Gormley for this exhibition, he said, “Although I do not represent my body in my work, I feel a deep sense of familiarity with you regarding the fact that my body mediates my work.” In turn, Gormley remarked, “The body is our spaceship, the vehicle or vessel through which all our impressions of the world come and through which all expressions of vitality are communicated. I have no interest in telling stories, but I do want to engage with life - that is art’s only purpose.” The two artists share more than that. In their work, both actively invoke the contextual meaning of the space in which a work is installed, and they go beyond the conventional aesthetics of representation or reproduction to explore relationships with the world and with society. Having the two artists’ works mounted within the same space makes this exhibition particularly significant, in that it will allow viewers to compare the two artists’ approaches to their work and to the world. Such comparisons promise an intriguing experience, as both have moved beyond the minimalist or conceptual trends found in American art to subvert the conventions of art. In viewing works by two artists whose interpretation is never confined to the criteria of conventional “beauty,” viewers may find this a pivotal moment for absorbing renewed artistic meaning.
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- September 21, 2019 - December 3, 2019
Royal Academy of Arts
From the British coastline to the rooftops of Manhattan, Antony Gormley’s sculptures are recognised across the world. With work from his 45-year career alongside major new installations created for this exhibition, the Royal Academy presents his most ambitious exhibition in more than ten years.
The exhibition will explore Gormley’s wide-ranging use of organic, industrial and elemental materials over the years, including iron, steel, hand-beaten lead, seawater and clay. The RA will also bring to light rarely-seen early works from the 1970s and 1980s, some of which led to Gormley using his own body as a tool to create work, as well as a selection of his pocket sketchbooks and drawings.
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- May 2, 2019 - October 31, 2019
Island of Delos,
SIGHT, organised and commissioned by NEON, is a site-specific exhibition in collaboration with the Ephorate of Antiquities of Cyclades on the Greek archaeological island of Delos and its Museum. It marks the first time that an artist will take over the archaeological site of Delos, since the mythological island was inhabited over 5,000 years ago. SIGHT is specially conceived to resonate with the statuary, temples, squares, vistas and the topography of the island. In this installation, including four specially commissioned new works, Antony Gormley repopulates the island with 29 life-size iron ‘bodyforms’ made during the last 20 years. Restoring a human presence and creating a physical path connecting to the mythology and human activity of Delos’s past, he invites us to use its remains as a site for imagining a human future. Gormley’s approach evokes a radical reassessment of the traditional statue or totem of the pre-modern world that once adorned public squares, temples and private dwellings but which are now absent, sequestered instead inside museums. The exhibition is curated by Iwona Blazwick OBE, Director, Whitechapel Gallery and Elina Kountouri, Director NEON.
Image: Antony Gormley, SIGHT, at the archaeological site of Delos Island, 2019. Photograph © Oak Taylor Smith | Courtesy NEON; Ephorate of Antiquities of Cyclades and the artist.
- A National Treasure: Fred Meijer, His Collection and Legacy
- February 1, 2019 - August 25, 2019
Frederik Meijer Gardens & Sculpture Park
1000 East Beltline Ave NE
Grand Rapids, MI 49525
This exhibition celebrates the centenary of Fred Meijer’s birth and charts the milestones of the collector and his collection, one of the most compelling stories in American cultural history.
Fred Meijer began collecting in the mid-1980s. His views broadened in the following years and in 1999 he declared his dream to build a "world-class" sculpture collection, opening a door for collecting beyond his initial personal aesthetic with the betterment and enjoyment of the public in mind.
The exhibition features a selection of works from Fred Meijer’s collection as well as loans of artists who influenced the collector throughout his life. SIGNAL III (2018) and VEER (2018), two life-sized sculptures by Antony Gormley are on display in the main gallery.Read more
- January 24, 2019 - June 16, 2019
Philadelphia Museum of Art
2600 Benjamin Franklin Pkwy
Perched high on the Museum’s Rocky steps, ten cast-iron ”blockwork” sculptures by British artist Antony Gormley bring art outside, releasing it into the city’s shared space. In these metal bodies, each over ten feet tall, Gormley has replaced anatomy with the language of architecture, using cantilevers, propping, and pier-and-lintel construction, the interplay of masses creating the balance of form and feeling. These are sculptures, not statues—less heroic or idealized, more material and real. STAND offers an opportunity to reflect on our status as urban animals, our common ground with the artworks, and how context influences our thinking.Read more
- Still Moving
- September 9, 2017 - November 26, 2017
LONG MUSEUM WEST BUND
Lane 3398, Longteng Avenue
Xuhui District, Shanghai
Still Moving will be the first major presentation of Antony Gormley’s work in China. The artist offers an exhibition which interacts with the unique architecture of the Long Museum to create a test site for both the work and the viewer, while introducing the major themes that have concerned him over the last 40 years: body as space and space as object.
At its core is Critical Mass II (1995) an installation of 60 life-size cast iron body forms. This seminal work has been widely exhibited in Europe, but this will be its first showing in Asia. Some of the body forms are installed in a linear progression, in positions from foetal to stargazing recalling the ‘ascent of man’.Some are suspended in arrested fall, others lie scattered across the space or form a jumbled pile.This multiple work celebrates the sculptural body as object and ground for feeling and engages our deepest hopes and fears; our attraction to light as well as to darkness.
A new work, Passage II(2017),is a 15.5 metre-long tunnel, whose shape is modelled on a standing human form. It too is both object and experience, suggesting a correlative for the interior of the body and offering a journey into darkness and the unknown.
- From July 1, 2017
Hall Art Foundation
Schloss Derneburg Museum
The Hall Art Foundation is pleased to announce an exhibition by acclaimed British artist Antony Gormley to be held at its Schloss Derneburg location. Gormley is internationally lauded for his sculptures, installations and public artworks that investigate the relationship of the human body to space. This is the largest Gormley exhibition held in Germany to date, bringing together works on paper, large-scale installations, and indoor and monumental outdoor sculpture that span the artist’s sculptural journey, from the early 1980s to site-specific works created this year.
The core of Gormley’s sculptural thinking – the relationship between mass and space, carried through skin, grid and volume – can be seen on the ground floor. The first work, from the series Learning to See III (1993), is a sculpture of embodied consciousness: an alert, aware, erect body. It has one closed, continuous surface. Its eyes, for the first time, are indicated, acknowledging a kind of internal vision. Set II (2017), in the adjacent room, uses the same body posture, but here the grid structure common to architecture is used to map the subjective space of the body. This pairing is qualified by a final work, Fit (2016), an unequivocal translation of anatomy into architecture that represents the high-energy zone of a body’s presence.
Being continues to investigate ways of presenting the body less as an object and more a place – a site of transformation and an axis of physical and spatial experience. A number of early lead “Bodycase” works are made on molds taken directly from the artist’s body. These works are a materialization of a real event on a real body in real time. Using verticality and laterality, they attempt to confront the viewer with their own embodiment in space and time. One work, Close I (1992), is a splayed and prostate body on the floor – an “X” that marks a fixed point on the surface of the earth. This work represents our dependency on the planet and acknowledges that each body is a point of reconciliation between centrifuge and gravity.
One of eight large-scale Corten Steel Expansion Field sculptures, Expansion Field 40/60 (2014), continues the idea of a case for a body, although these particular cases are made with the orthogonal geometry of a room. These “Tankers”, as the artist describes them, invoke the expanding nature of consciousness, in spite of bodily determinism.
In Expansion Field I am applying the Hubble Constant – the idea that space is a state of continual expansion – to the subjective space of the body in different attitudes of emotional contraction or extension. These eight works attempt a bridge between the darkness of the body and deep space.
The linear display of the Expansion Field sculptures is complemented by a series of recent body prints and woodblocks. These works on paper prompt a conversation between the Paleolithic gesture of presence and Modernism's attraction to the void. Woodblock prints of planes equivalent to those found in the Expansion Field sculptures make x-ray-like images of the space of the body, where the grain of the wood forms a subtle, translucent crosshatching. These woodblock prints are paired with body prints, like Feel III (2016), made with a mixture of crude oil and petroleum jelly, which indicate instant indices of lived time.
Sleeping Field (2015-2016) is a large-scale installation in which architectural language is used to describe a city made up of 700 miniature body-forms. Each body-form is made from 29 discrete parts, re-configured to make up 70 original poses, each cast 10 times. The work refers to humankind’s dependency on the city as an instrument for survival. While it can be seen as an urban landscape, it also refers to the present crisis of migration and the camps that have become familiar in Turkey, Greece and Germany. Distillate I (2003), one of Gormley’s earliest built “Blockworks”, proposes an alternative model of a landscape or citadel made of multiple cells. Here, blocks of six discrete sizes map the space of an unconscious body.
Sited on the Schloss grounds is Block II (2017), a 46-tonne red granite ‘Blockwork’ made of 22 stones that sit one on top of the other using their deadweight as a constructive principle. The artist conceives of this work as a meditation on the current and temporary state of humankind embedded in the city, brooding about its future. It purposefully conveys the attitude of a lazy Buddha.
One of Gormley’s well-known works, European Field (1993), sited in a specially renovated barn, is a vast installation of 35,000 terracotta elements made from clay taken from Småland, Sweden. Simultaneously evoking our ancient ancestors and the unborn, European Field reverses the normal economy of contemplation, making the viewer the subject of its gaze. Deliberately made uncomfortable, the viewer is cast as an actor who has unconsciously walked onto a stage and is now facing an audience that asks: “Who are you? What are you? What kind of world are you making?” The presentation of European Field is complemented by 12 drawings, such as Two Beings Doubtful (1989), made of earth, oil and carbon.
Antony Gormley was born in London in 1950. His work has been the subject of numerous solo shows worldwide, including exhibitions at National Portrait Gallery, London (2016); Forte di Belvedere, Florence (2015); Zentrum Paul Klee, Bern (2014); Centro Cultural Banco do Brasil, São Paulo, Rio de Janeiro and Brasilia (2012); Deichtorhallen, Hamburg (2012); The State Hermitage Museum, St Petersburg (2011); Kunsthaus Bregenz, Austria (2010); Hayward Gallery, London (2007); Malmö Konsthall, Sweden (1993) and Louisiana Museum of Modern Art, Humlebæk, Denmark (1989). He has also participated in major group shows such as the Venice Biennale (1982 and 1986) and Documenta 8, Kassel, Germany (1987). Permanent public works include the Angel of the North (Gateshead, England), Another Place (Crosby Beach, England), Inside Australia (Lake Ballard, Western Australia), and Chord (MIT – Massachusetts Institute of Technology, Cambridge, MA, USA). Gormley was awarded the Turner Prize in 1994, the South Bank Prize for Visual Art in 1999, the Bernhard Heiliger Award for Sculpture in 2007, the Obayashi Prize in 2012 and the Praemium Imperiale in 2013. In 1997 he was made an Officer of the British Empire (OBE) and was made a knight in the New Year’s Honours list in 2014. He is an Honorary Fellow of the Royal Institute of British Architects, an Honorary Doctor of the University of Cambridge and a Fellow of Trinity and Jesus Colleges, Cambridge. Gormley has been a Royal Academician since 2003. He currently lives and works in London.
- 3X ANOTHER TIME
- April 22, 2017 - April 22, 2022
- Sainsbury Centre for Visual Arts, University of East Anglia, Norwich, Norfolk, NR4 7TJ
3x ANOTHER TIME comprises three life-sized cast iron sculptures selected from Gormley’s ongoing series Another Time (1999–2013) which has been presented in locations across the world. The sculptures will be placed around the university at different focal points and sightlines, including roof level.
The artist describes the works as “still moments of lived time placed in place”. He selected the locations after being attracted to the important architecture of the university campus.
This installation builds on an existing sculpture trail which includes works by Henry Moore, Ian Tyson, Liliane Lijn and John Hoskin in the grounds of the Sainsbury Centre and around the UEA campus.
- From April 27, 2016
Massachusetts Institute of Technology (MIT)
CHORD is a new commission for the Department of Mathematics and Chemistry at MIT. The site-specific work, a spiral sculpture composed of irregular polyhedra connecting the floor to the skylight in the staircase of Building 2, plays on the movement of living bodies and the geometry of the stair itself, giving a counterpoint that animates the experience of ascending and descending the building. It is composed of over 900 square stainless steel rods welded together and joined at nodes by 541 polished stainless steel balls, each with a diameter of 60 mm.Read more