Xavier Hufkens opens an exhibition of works by Antony Gormley
The First Art Newspaper on the Net    Established in 1996 Tuesday, November 26, 2024


Xavier Hufkens opens an exhibition of works by Antony Gormley
Corner, 2022.



BRUSSELS.- 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 gallery, the artist’s proposition is clear: the open end of a 155-meter-long steel tube lies on the floor in dialogue with a dark opening in a concrete bunker. Behind it, a drawing evokes the cosmic darkness of a black hole. Taken together, these three works acknowledge the body as a place, materialise its inner tensions, and affirm its need for shelter.

The sculptural installation RUN III (2022) is both activating and activated: it transforms the architectural space but, at the same time, is animated by human interaction. The sculpture is a line that weaves through the gallery with horizontals at the domestic heights of chairs and tables, windowsills and ceilings, so that our familiarity with its geometry is both triggered and confused. By re-presenting our built world, RUN III allows us to walk through walls whilst becoming aware of how architecture encourages and enforces particular forms of bodily choreography.




CORNER (2022)—what the artist has called a concrete “bunker for one”—is the first of two works that bookend the exhibition. Like its companion piece on the gallery’s third floor, the sculpture was created from digital scans of Gormley’s body as he crouched isolated in space or was compressed into a corner, identifying a human space in space at large. A single square opening—almost equivalent to the size of the steel tube of RUN III—is the solitary clue that these structures are hollow. Like compact dwellings, these works allude to the body as a house, acknowledging its dual nature as a space of refuge and imprisonment. This is a place where the body can be bound but the mind set free.

Corresponding visually to the linear language of RUN III and in an extra- ordinary feat of casting, a group of Knotwork sculptures take the notion of three-dimensional mapping from building to body. Whereas RUN III allows us to calibrate our physical relationship to the architectural receptacle of a building or room, the tighter, denser pathways of these works chart the interior of the human body. These “maps of the interior” show evidence of internal pressure and tension in the brain, heart, stomach and knees, capturing moments of lived time within the body.

Throughout the exhibition, carefully placed drawings provide interpretational clues to the sculptures. They invite us to connect our proprioceptive intuition about the inner places of the body with the infinite darkness of an expanding universe or the plotted points of an oil field.

In a radical departure from Gormley’s normal practice of isolating a single body in space, the new Double Blockworks in the gallery’s lower level evoke mitosis, or the division and replication of cells that guarantees the continuance of life. In making this series, Gormley reflected upon Michelangelo’s final unfinished sculpture—the Rondanini Pietà (1552-64)—as a metaphor for the relationship between the sculptor and his material, life and death. Many of the Double Blockworks are based on scans of the artist clasping a previously made blockwork: an acknowledgement of his relationship with the art of sculpture. For the artist, the doubled figures embody “matter as a continual dance of possibility between emergence and entropy, the acknowledgement of instability and inevitable jeopardy, but, at the same time, connection, the need to stand and to hold—to touch the world, the future, another body.”

The most extensive exhibition of Antony Gormley’s work in Germany to date is currently on view at the Lehmbruck Museum in dialogue with the work of Wilhelm Lehmbruck. Recent solo exhibitions include Museum Voorlinden, Wassenaar (2022); Schauwerk Sindelfingen, Sindelfingen, (2021); National Gallery Singapore (2021); Royal Academy, London (2019); Island of Delos, Greece (2019); Busan Museum of Art (2019); Uffizi Gallery, Florence (2019); the Philadelphia Museum of Art (2019); Kettle’s Yard, Cambridge (2018); Long Museum, Shanghai (2017); The National Portrait Gallery, London (2016). He has participated in the Venice Biennale (1982 and 1986) and Documenta 8 (1987). Permanent public works include Angel of the North (Gateshead, England), Another Place (Crosby Beach, England), Inside Australia (Lake Ballard, Western Australia) and Exposure (Lelystad, The Netherlands).










Today's News

October 29, 2022

How colonial artisans dazzled the New World

Smithsonian picks two sites for museums honoring Latinos and women

Xavier Hufkens opens an exhibition of works by Antony Gormley

Warhol's Monroe sells for $137,500, capping Heritage's captivating $2.53 million Prints & Multiples event

Chasing spirits: Mexico City's house museums

Music thwarted by the Holocaust will now be published

MichaeI Kagan: "To The Moon" at the MAKI Gallery in Tennoz II, Tokyo

"Marjolijn de Wit: Sorry for the Damage" on view at Asya Geisberg Gallery

The Wolfsonian-Florida International University spins to the rhythms of Turn the Beat Around

Second Phase Chief's blanket leads Heritage's Ethnographic Art Auction

Cincinnati Art Museum surpasses $65M in fundraising to support its transformative New View

UniX Gallery opens exhibition "In Your Face" by KwangHo Shin

Six young artists awarded 2022 Brett Whiteley Travelling Art Scholarship

Britain's best known female street artist and LUAP join anonymous art auction for charity

Mike Henderson awarded The Margrit Mondavi Arts Medallion

Exhibition explores how ideas rooted in horror have informed the last 50 years of creative rebellion

New Design Curator appointed at Milwaukee Art Museum

Artium Museum's exhibition program continues with shows by Jutta Koether and Iván Zulueta

The Rousset Collection of Asian Art 100% sold at Bonhams Cornette de Saint Cyr

The art world came to Kosovo. What happens when it leaves?

'Reena Saini Kallat: Common Ground' opens at Compton Verney

P·P·O·W opens 'I'm Not Your Mother', a group exhibition

Luvme Water Wave Wigs: Natural Wavy Hair Style




Museums, Exhibits, Artists, Milestones, Digital Art, Architecture, Photography,
Photographers, Special Photos, Special Reports, Featured Stories, Auctions, Art Fairs,
Anecdotes, Art Quiz, Education, Mythology, 3D Images, Last Week, .

 



Founder:
Ignacio Villarreal
(1941 - 2019)
Editor & Publisher: Jose Villarreal
Art Director: Juan José Sepúlveda Ramírez
Writer: Ofelia Zurbia Betancourt

Attorneys
Truck Accident Attorneys
Accident Attorneys
Houston Dentist
Abogado de accidentes
สล็อต
สล็อตเว็บตรง
Motorcycle Accident Lawyer

Royalville Communications, Inc
produces:

ignaciovillarreal.org juncodelavega.com facundocabral-elfinal.org
Founder's Site. Hommage
to a Mexican poet.
Hommage
       

The First Art Newspaper on the Net. The Best Versions Of Ave Maria Song Junco de la Vega Site Ignacio Villarreal Site Parroquia Natividad del Señor
Tell a Friend
Dear User, please complete the form below in order to recommend the Artdaily newsletter to someone you know.
Please complete all fields marked *.
Sending Mail
Sending Successful