歌雅艺术

2023-12-04

导读：四十多年来，安东尼·葛姆雷通过与自身身体的密切接触，以及最近通过研究身体与建筑环境的关系，探索了人体与空间的关系。

安东尼·葛姆雷

Antony Gormley

安东尼·葛姆雷因其研究人体与空间关系的雕塑、装置和公共艺术作品而广受赞誉。他的作品通过对自己和他人身体的批判性参与，以直面人类相对于自然和宇宙的立场等基本问题的方式，开发了自 20 世纪 60 年代以来雕塑所开辟的潜力。葛姆雷不断尝试将艺术空间视为一个可以产生新行为、思想和感受的场所。他的作品通过对自身和他人身体的批判性参与，以探索人类相对于自然和宇宙等基本问题的立场和存在方式。

Anthony Gormley is widely acclaimed for his sculptures, installations, and public art works that explore the relationship between the human body and space.Through his critical engagement with his own and others' bodies, his work has explored the potential opened up by sculpture since the 1960s, by confronting fundamental questions about humanity's position relative to nature and the universe.Gormley continually attempts to view art spaces as a place where new behaviors, thoughts, and feelings can be generated.Through his critical engagement with his own and others' bodies, his work explores humanity's position and existence relative to fundamental questions about nature and the universe.

Angel of the North Permanent installation, Gateshead1998

Steel，22 x 54 x 2.2 m

EVENT HORIZON, 2007
27 fiberglass and 4 cast iron figures
Each 189 x 53 x 29 cm

Breathing Room II, 2010
aluminum tube, 25 x 25 mm, Phosphor H15 and plastic spigots
151 15/16 x 337 3/8 x 365 3/8 inches (386 x 857 x 928 cm)

GAUGE IV, 2014
4 mm corten steel
96 1/2 x 37 3/4 x 31 3/4 inches (245 x 95.8 x 80.8 cm)

STATION XI, 2014

5 mm mild steel plate and 5 mm square section mild steel bar

76 3/4 x 19 1/16 x 13 9/16 inches (195 x 48.5 x 34.5 cm)

CRUNCH, 2015

cast iron

34 13/16 x 20 11/16 x 27 9/16 inches (88.5 x 52.5 x 70 cm)

ROD, 2016

cast iron

75 5/8 x 21 1/8 x 13 9/16 inches (192.1 x 53.7 x 34.5 cm)

FLEX, 2016

cast iron

14 3/16 x 61 3/4 x 20 1/16 inches (36 x 156.8 x 51 cm)

VEER, 2018

cast iron

59 15/16 x 23 11/16 x 10 15/16 inches (152.3 x 60.1 x 27.8 cm)

MEME FIELD 3 I
2018

Cast iron

Dimensions variable, 60 elements

Antony Gormley: STAND, 2019

Installation view, Philadelphia Museum of Art, PA, USA

Courtesy of Philadelphia Museum of Art

Turn, Dhaka Art Summit, 2023

在DAS 2023上，安东尼·格姆利与孟加拉国的一组工匠合作创作了《转身》（2023），这是一幅由2.5公里长的捆绑竹子制成的“空间绘画”。线条的爆炸，让观众在躲避和扭曲这个循环纠缠的过程中，将蜿蜒的物质性转化为运动。这个动态的能量场本质上是暂时的，它唤起了孟加拉国竹子的变形之旅，并在峰会后将回收为其他形式。

At DAS 2023, Antony Gormley collaborated with a team of Bangladeshi artisans to create Turn (2023), a ‘drawing in space’ made from 2.5 km of bundled bamboo. An explosion of line, Turn invites viewers to transform its sinuous materiality into movement as they duck and twist through this looping entanglement. Temporary in nature, this dynamic field of energy evokes the shapeshifting journey of bamboo in Bangladesh – and will be recycled into other forms after the Summit.

Umwelt, Thaddaeus Ropac, Salzburg, Austria 1 April–20 May 2023

在质疑人类居住的基本空间，包括身体和环境方面，展览探讨了脆弱性和我们对保护的本能欲望的条件：“我使用雕塑来重新审视，对我自己来说，居住在身体这一物质中意味着什么，希望这可能对其他人有用。我想利用雕塑的工具性潜力，通过它，你可能会感受到一个扩展的感知领域。”

In questioning the fundamental spaces of human habitation, both bodily and environmental, the exhibition addresses conditions of vulnerability and our instinctive desire for protection: ‘I use sculpture to re-examine, for myself, what it means to inhabit this bit of matter that is the body, hoping that this might be of use to others. I want to use the instrumental potential of sculpture, through which you might sense an extended field of perception.’

Body Politic, White Cube Bermondsey, London, UK 22 November 2023–28 January 2024

在庇护和控制、自由和纪律之间，《身体政治》呼吁雕塑固有的特质一一沉默、静止和物质性一一让参观者更加意识到自己的行动和思想自由。

Between sanctuary and control, freedom and discipline, Body Politic calls upon
qualities intrinsic to sculpture – silence, stillness and materiality – to allow visitors to become more aware of their own freedoms of movement and mind.

Critical Mass, Musée Rodin, Paris, France 17 October 2023–3 March 2024

四十多年来，安东尼·葛姆雷通过与自身身体的密切接触，以及最近通过研究身体与建筑环境的关系，探索了人体与空间的关系。在罗丹博物馆举办的这次展览名为“临界质量”，激活了博物馆的所有区域，包括临时展览空间、花园、大理石画廊和比隆酒店。葛姆雷职业生涯中的主要作品与罗丹自己的雕塑进行了对话，邀请游客思考这两位雕塑家及其共同投资，询问身体作为主题、对象和反思工具为雕塑提供了什么。

For over forty years, Antony Gormley has explored the relationship of the human body to space through a critical engagement with his own body and, more recently, through examining the relationship of the body to the built environment. Titled Critical Mass, this exhibition at the Musée Rodin activates all areas of the museum, including the temporary exhibition space, gardens, Marble Galerie and Hotel Biron. Key works from across Gormley’s career enter into dialogue with Rodin’s own sculptures, inviting visitors to reflect on the two sculptors and their shared investment in asking what the body offers sculpture as a subject, object and reflexive tool.