Antony Gormley is widely acclaimed for his sculptures, installations and public artworks that investigate the relationship of the human body to space. His work has developed the potential opened up by sculpture since the 1960s through a critical engagement with both his own body and those of others in a way that confronts fundamental questions of where human beings stand in relation to nature and the cosmos. Gormley continually tries to identify the space of art as a place of becoming in which new behaviours, thoughts and feelings can arise.
Antony Gormley (b. 1950, London) was awarded the Turner Prize in 1994, the South Bank Prize for Visual Art in 1999, the Bernhard Heiliger Award for Sculpture in 2007, the Obayashi Prize in 2012 and the Praemium Imperiale in 2013. In 1997 he was made an Officer of the British Empire (OBE) and was made a knight in the New Year's Honours list in 2014. Gormley has been a Royal Academician since 2003.
A major retrospective of Antony Gormley’s work was held at Royal Academy, London (2019). Recent solo exhibitions include Kettle's Yard, Cambridge (2018); Long Museum, Shanghai (2017); Hall Art Foundation, Schloss Derneburg Museum (2017); The National Portrait Gallery, London (2016) and Forte di Belvedere, Florence (2015). He has participated in major group shows such as the Venice Biennale (1982 and 1986) and Documenta 8 (1987). Permanent public works include Angel of the North (Gateshead, England), Another Place (Crosby Beach, England), Inside Australia (Lake Ballard, Western Australia) and Exposure (Lelystad, The Netherlands).
9 March—8 April 2017
28 March—4 May 2013
17 September—22 October 2009
14 September—21 October 2006
12 September—31 October 2002
21 January—1 March 1999
8 June—14 September 1996
28 April—30 May 1987
essay by Bart Verschaffel, interview between Antony Gormley and Benno Tempel, published by Xavier Hufkens, 2017, 136 pages, English
interview by Mary Moore, text by Jean Paul Van Bendegem, published by Xavier Hufkens, 2013, 104 pages, English
texts by Roger Penrose and Frank Maes, published by Xavier Hufkens, 2010, 104 pages, English