In the catalog for Antony Gormley’s recent exhibition, Blind Light, at the Hayward Gallery in London, the curator Jacky Klein cites Brancusi’s dictum that “architecture is inhabited sculpture.” But since the onset of the Constructivist movement in Russia in the early 20th century, sculpture itself has become architectonic and inhabited, if not physically, then mentally, in the seductive manner that the imagination allows the viewer to experience its interiority.'
Not satisfied merely to imply habitation, two artists developed sculptural projects this year that work as architecture and engage viewers to complete the perceptual concepts behind them: Tobias Putrih’s Venetian, Atmospheric, which represented Slovenia at the 52nd International Art Biennale in Venice, and Gormley’s Blind Light at the Hayward. Both extract ideas from the artists’ early memories of buildings and the consciousness of the self within space to produce a transforming experience for others.
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