This publication is the exhibition catalogue of Still Standing, an exhibition in which seventeen of Gormley's solid iron blockworks were shown in a rigorous orthogonal arrangement in the Small Classical Courtyard, one of the most famous interiors of the museum. Developed over two years, these works re-describe the space of the human body using the Euclidean geometry of architecture. Their abstract and severely constructed modernist volumes and rough, oxidised surfaces were contrasted against the ornate neo-classical architectural surroundings and the idealised body-forms of the previous room. Antony Gormley placed nine ancient statues in a loose constellation directly on the ground so that these idealised and sexualised bodies shared the same conditions as the viewer. This marked the first time that a living artist has engaged with the classical galleries of the Hermitage Museum in St Petersburg.
In the accompanying book, Antony Gormley: Still Standing, the art historian Margaret Iversen explores the creative and intellectual context to this unique intervention, which is further developed by the artist in an interview with the exhibition curator Dimitri Ozerkov.
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