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until 25 September

Exhibition Antony Gormley

With his sculptures, installations and art in public space, Gormley explores the relationship between the human body and the space around us. The retrospective exhibition GROUND covers his extensive oeuvre, from his lead sculptures from the 1980s to his most recent installations. The exhibition can be seen from May 26 to September 25, 2022.

For the first time in Voorlinden's history, the largest part of the museum is devoted to one artist with GROUND. That makes it one of Voorlinden's most ambitious exhibitions ever. "As a museum, we want to do everything we can to give Antony Gormley the stage he deserves," says director Suzanne Swarts. Gormley approaches the age-old subject of the human body in his own unique way. He touches on a universal and philosophical note and builds on the art history and conceptual sculpture of the 1960s and 1970s.

Ant…

With his sculptures, installations and art in public space, Gormley explores the relationship between the human body and the space around us. The retrospective exhibition GROUND covers his extensive oeuvre, from his lead sculptures from the 1980s to his most recent installations. The exhibition can be seen from May 26 to September 25, 2022.

For the first time in Voorlinden's history, the largest part of the museum is devoted to one artist with GROUND. That makes it one of Voorlinden's most ambitious exhibitions ever. "As a museum, we want to do everything we can to give Antony Gormley the stage he deserves," says director Suzanne Swarts. Gormley approaches the age-old subject of the human body in his own unique way. He touches on a universal and philosophical note and builds on the art history and conceptual sculpture of the 1960s and 1970s.

Antony Gormley: ‘Sculpture is no longer a medium of memorial and idealization but a context in which human being can be examined. Sculpture is no longer representational: it is an instrument of investigation and questioning. I have called this exhibition GROUND to make this open invitation of sculpture clear. Without the viewer there is no show, without the gallery there is no context. The joy of this kind of exhibition is to allow the richness of the context itself to become activated by sculpture. For me, the body of the viewer is often the activating principle in a 'ground' of contemplation: the works become catalysts for awareness and grounds for physical and imaginative inhabitation.

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