| .cs162A16FE{} .cs14F83B7D{width:530pt;padding:0.75pt 0.75pt 0pt 0.75pt;border-top:none;border-right:none;border-bottom:none;border-left:none} .cs2654AE3A{text-align:left;text-indent:0pt;margin:0pt 0pt 0pt 0pt} .cs4C3DDAB8{color:#000000;background-color:transparent;font-family:Calibri; font-size:11pt; font-weight:normal; font-style:normal; } .cs466DDC72{text-align:left;text-indent:0pt;margin:0pt 53pt 0pt 0pt} .cs566403DE{color:#000000;background-color:transparent;font-family:Times New Roman; font-size:12pt; font-weight:normal; font-style:normal; } • Accompanies an exhibition at the State Hermitage Museum, St. Petersburg, from September 23, 2011- January 15, 2012This book is made up of nine classical sculptures from the Hermitage Museum, removed from their plinths and repositioned to share a raised floor with the viewer; and seventeen highly abstracted body-forms by Antony Gormley. The idea is to juxtapose ancient, idealized statues with Gormley s more disinterested sculptures and see whether, in Gormley s work, the abstract language of Euclidean geometry can make a shelter for feeling, and whether, in the case of the classical works, demounting and putting the viewer on the same level as their original makers can re-establish them as made things. The interaction of the public, captured in documentary photographs, is key to a project that aims to show how classical marbles, Gormley s own sculptures and the living human visitors inhabit the same space and can converse with each other. |
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