Antony Gormley KUB 09.03

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Antony Gormley Clearing IV | 2005 6 km 16-swg-Aluminiumrohr, Durchmesser: 12,7 × 12,7 mm Maße variabel Installationsansicht, Sean Kelly Gallery, New York Fotografie: Steven P. Harris English Kunsthaus Bregenz presents four major installations made by the artist Antony Gormley over the last fifteen years in which we can trace a constant dialogue with the nature and dynamic of the sculptural project, the way that it investigates and occupies space, and the way that it invites us to re-orient ourselves, our perceptions and the terms of our self-knowledge. Refusing the fetishization of the object, Gormley’s work continually tests the limits and syntax of sculptural expression and the attention of the viewer, calling for ever greater participation and engagement. The exhibition brings together four key series from Gormley’s oeuvre. Allotment and Critical Mass approach the collective body in dialectically different ways: body-forms falling or dropped, forming a chaotic and abject field, and void concrete cases arranged in a strict city grid. In contrast to these opposed masses and spaces Clearing creates a dynamic field: a drawing that acts like a web or 10 11 KUB-Programm 09.03 Antony Gormley
Antony Gormley Feeling Material XXXII | 2008 5-mm-Vierkant-Flussstahlstab 217 × 198 × 185 cm Fotografie: Stephen White nest to entrap and entrance the viewer, confusing and contradicting the clearly defined volumes of Zumthor’s architecture while remaining open to atmospheric changes of light. This sensation is contrasted by the results of a contained explosion where the physical meets the incommensurable in the seven tonnes of rusting iron that make up Body and Fruit. These, the first works encountered on entering the KUB, are two of Gormley’s Expansion Works, made between 1990 and 1994. The skin, or sensory limit of the body, is extended through the application of consistent spars radiating from nodal points at the extremities of the body. These are linked together at their outer ends to form a continuous surface. Body (1991– 93, cast iron, 6 t) and Fruit (1991– 93, cast iron, 1.25 t) are derived from a body-mould in a clasped diving position. The hanging of these two sculptural objects sets up a relational field reconciling the human and planetary body and engaging the viewer in a gravitational field in which these large heavy objects hang just a few centimeters from the floor. Replacing the biological body with “the second body of architecture” on the first floor of KUB, Gormley presents Allotment II, made in 1996 in Malmö, Sweden. A total of three hundred people – men, women and children aged from one and a half to eighty years – were measured following a set of thirteen strict body measurements provided by the artist. The resulting data defines the height, width and depth of the body; the location of the head; the dimensions of the mouth, nose and ears; and the height of the shoulders, anus and genitals from the floor. From these detailed measurements the artist constructed three hundred reenforced concrete cases (each 5 cm thick), translating the individual shape of the respective person’s body into the form of a modernist bunker. All body openings (mouth, ears, anus and genitalia) are transcribed into the concrete box according to the individual’s measurements. The reinforced concrete case is the minimum space necessary to accommodate a particular body. Evocatively called “Rooms,” collectively they resemble a city and refer to a sense of community which transcends the individual subject. The smaller constructions of heads upon the plinth-like concrete columns resemble water tanks or plant rooms on high-rise tower-blocks while at the same time, in their proximities and apartness, play out family relations. Displayed in juxtaposition, a sense of the individual characteristics of these intimate architectures emerges. As well as through obvious variations in size and height, some subtle transfer of the character of the original subject is displayed through small differences and shifts in proportions. The geometrical grid and arrangement of the individual works into blocks with streets and squares provide a labyrinth in which the viewers can lose and find themselves, literally and in ghost form, by measuring their own heights and girths against those of absent subjects.
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Seite 4: Antony Gormley Fruit, Body | 1991-
Seite 7 und 8: Person in eine Art modernistischen
Seite 9: gestellt ist. Das Gewicht der Figur
Seite 13: Antony Gormley Another Place | 1997
Seite 17 und 18: KUB 09.03 Diskurs KUB Arena 12 | 07
Seite 19 und 20: Open-Air-Kino Mittwoch, 29. Juli, b
Seite 21 und 22: Schule - Jugend - Kind Lehrerführu
Seite 24 und 25: KUB Kalender Juli 11 19.30 h Eröff
Seite 26 und 27: KUB 09.03 Deutsch/englisch Hg. Kuns
Seite 28 und 29: KUB 09.02 Lothar Baumgarten Frage /
Seite 30: Antony Gormley Blind Light | 2007 F

Antony Gormley KUB 09.03

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