Antony Gormley To Immobile 56 Program That Moves

We have come across his works indoors as well as outdoors and there is a reason that goes beyond his attention to nature and societys relationship with it Antony Gormley is interested in the bonds between the human body and space and conceives the first turned into sculpture both as an object and as a place Suggestive and dramatic his installations refer to the emotions that inhabit the visible from its position of invisibility to our 56 program.

Attitude when we get disoriented to what the physical implies regarding absences and presences Beneath his figures sometimes solitary sometimes in groups made of steel iron or lead there are voids that could be occupied by bodies and they are surrounded by other figures our own who form part of the artists own work by walk around them

Until December 17 Xavier presents at his headquarters in StGeorges in Brussels BODY FIELD a project in which the Londoner has continued to explore the possibilities of sculpture as an instrument for raising awareness of certain concepts close to philosophy As soon as we enter the gallery we will find the open end of a steel tube arranged on the ground in dialogue with a black opening in a kind of cement bunker Behind these pieces a drawing evokes once again the cosmic darkness of a black hole Taken together and from perspective these works recognise from its absence the human body as a place materialising its internal tensions and affirming its need for shelter 56 program.

For its part CORNER 2022 a work that Gormley refers to as a bunker for one was created precisely from digital scans of the artists body while he was crouched or isolated in a corner and in it the space strictly human as space in general underlining the anthropocentrism with which we contemplate the world A single square indentation almost equivalent to the size of the RUN III steel tube is the only clue that this structure is hollow Basically both pieces in the manner of strictly compact dwellings refer to the body as a house recognising its double nature as a space for refuge and prison They compose a place where ultimately and from conception the skin can be bound but the mind freed

Corresponding visually with the linear language of RUN III we will also contemplate the Knotwork group of sculptures which brings three dimensional mapping procedures from architecture to the human body If that steel tube allowed us to calibrate our physical relationship with the receptacle of the room the narrower and denser paths of these other creations trace a possible interlining of human flesh they are interior maps that show evidence of internal pressure and of tension in the brain heart stomach and knees capturing moments of organically lived time

In addition throughout the exhibition drawings have been displayed that offer interpretive pieces of the sculptures they invite us to connect our intuition about the internal places of our own body with the infinite darkness of an expanding universe or with points drawn on a oil field

Finally in a radical departure from Gormleys usual practice of isolating a single body in space Xavier Hufkens new Double Blockworks at the lower level evoke mitosis the division and replication of cells that ensures the continuity of life.

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