- 1063
安東尼·葛姆雷 | 居
Estimate
2,400,000 - 3,200,000 HKD
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Description
- Antony Gormley
- 居
- variable mild steel blocks
- 24 (高) x 208.5 x 60 公分 ，9½ (高) x 82 x 23⅝ 英寸
二〇〇五年作
Provenance
Galerie Thaddaeus Ropac, Paris
Acquired by the present owner from the above
Acquired by the present owner from the above
Exhibited
France, Paris, Galerie Thaddaeus Ropac, Breathing Room, 30 March - 29 April 2006
Australia, Adelaide, Art Gallery of South Australia, Versus Rodin: Bodies Across Space and Time, March - July 2017
Australia, Adelaide, Art Gallery of South Australia, Versus Rodin: Bodies Across Space and Time, March - July 2017
Condition
null
我們很高興為您提供上述拍品狀況報告。由於敝公司非專業修復人員，在此敦促您向其他專業修復人員索取諮詢，以獲得更詳盡、專業之報告。
準買家應該檢查每款拍品以確認其狀況，蘇富比所作的任何陳述均為專業主觀看法而非事實陳述。準買家應參考有關該拍賣的重要通知（見圖錄）。
雖然本狀況報告或有針對某拍品之討論，但所有拍賣品均根據印於圖錄內之業務規則以拍賣時狀況出售。
我們很高興為您提供上述拍品狀況報告。由於敝公司非專業修復人員，在此敦促您向其他專業修復人員索取諮詢，以獲得更詳盡、專業之報告。
準買家應該檢查每款拍品以確認其狀況，蘇富比所作的任何陳述均為專業主觀看法而非事實陳述。準買家應參考有關該拍賣的重要通知（見圖錄）。
雖然本狀況報告或有針對某拍品之討論，但所有拍賣品均根據印於圖錄內之業務規則以拍賣時狀況出售。
Catalogue Note
Settlement
Antony Gormley
Steel is the cousin of iron, a concentrated earth mineral, but it is more industrial and comes in six metre lengths at defined widths: 12, 15, 20, 25, 30, 35, 40, 50, 60 and 80mm square section. I use it because it's hard, easy to work and lasts a long time. It is dense and holds its shape while also being vulnerable to atmosphere and oxidisation so it is tough but vulnerable at the same time; it can be polished to shine but will return to earth if left. The whole sculpture plays with together and apart, the part and the whole, the acceptance of entropy and the discipline necessary to withstand it. Works like Settlement attempt to remake the body in terms of a village, pueblo or city, celebrating the body itself as a place of indwelling but vulnerable existence. Steel suits our industrial age more than bronze. I like its colour. I like the fact that the drawn sides are very different in texture to the cut ends. We bolt all the pieces together. I like the chess-like challenge of not bolting yourself out: there always has to be space to turn your block so putting the pieces together tightly so that the whole piece stays together is hard but when it is together it is very rewarding. The body is an aggregate of cells and the sculpture an aggregate of blocks, an echo of the place I found myself and made again to see.
Antony Gormley, 2015
Photograph by Stephen White, London
Antony Gormley
Steel is the cousin of iron, a concentrated earth mineral, but it is more industrial and comes in six metre lengths at defined widths: 12, 15, 20, 25, 30, 35, 40, 50, 60 and 80mm square section. I use it because it's hard, easy to work and lasts a long time. It is dense and holds its shape while also being vulnerable to atmosphere and oxidisation so it is tough but vulnerable at the same time; it can be polished to shine but will return to earth if left. The whole sculpture plays with together and apart, the part and the whole, the acceptance of entropy and the discipline necessary to withstand it. Works like Settlement attempt to remake the body in terms of a village, pueblo or city, celebrating the body itself as a place of indwelling but vulnerable existence. Steel suits our industrial age more than bronze. I like its colour. I like the fact that the drawn sides are very different in texture to the cut ends. We bolt all the pieces together. I like the chess-like challenge of not bolting yourself out: there always has to be space to turn your block so putting the pieces together tightly so that the whole piece stays together is hard but when it is together it is very rewarding. The body is an aggregate of cells and the sculpture an aggregate of blocks, an echo of the place I found myself and made again to see.
Antony Gormley, 2015
Photograph by Stephen White, London