The first thing to watch Anthony Gormley As shown below (1986), a picture with oil and charcoal, is part of the “witness” of the white cube Mason yard, and is naturally Leonardo da Vinci. Gormley Vitruvians (1490). But, inspired by Roman architects, Leonardo da Vinci's paintings were intended to allow the artist to explore what he believed to be the ideal proportion of humanity, and Gorely's work was stranger, even more bizarre. The numbers are in As shown below Flipped; at first glance, the face seems to appear not only at the top of the image, but also in the middle, the hips and groin of the two numbers are connected together. One person's arms are fully extended, while the other is angled. There is nothing ideal for this covered body, sometimes almost no one.
It is this relationship with humanity that is not entirely lacking, but a gradually relaxed relationship, a gesture to our current form of flesh beyond our current “witnesses”, along with several other sculpture exhibitions in London and beyond. In a room in the white cube Mason yard, there are a series of extensive lead sculptures of Gormley. Except for each other, it’s like a group of people frozen during a time of conflict. But not only that, none of them looked at each other, and some seemed to have a farther memory than others. In one corner of the room is Witness II (1993), a man sat with his arms, walked downwards, buried under his heavy limbs. The center of the room is Home and the World II (1986-96), a person, or at least artificial, tall, frozen in sports. But on their necks, it's a huge structure that looks like a mailbox and looks longer than the character itself. These two shared spaces with other lead characters seem to capture some kind of trajectory—the idea that human form might become, and the difficulty we acknowledge or even simply understand it. Seed II (1989/93) is a series of lead fragments that look like a pile of bullets, but the title of the work means something else: this material (which is the source of life for the Gormley structure) is also the origin of some new forms that are human and something beyond it. The point here is its weight. Heavy matter in physical form. This feeling is responsive in the sculpture of Ivana Bašić, in the recent show “The Temptation of Existence”. exist reduce (2024), glass-blown, dust-covered sculptures reminiscent of eggs and fertility pods that appear throughout science fiction (perhaps most famously matrix), is a racing car's exhaust hose hose wandering in glass, a feeling like a creature, almost certainly not the origin of human beings. It's even tempting to draw a line from Gormley's leadership seed To the exhaust hose that lingers inside reducethese deep artificial materials have produced a new synthetic life form that is both flesh and not flesh.
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In another space of White Cube, in Bermondsey, another sculpture retrospectively pushes the limitations that human form may become. The most surprising aspect of the “perversion-retrospective” that Richard Hunt’s work over the decades shows are those that capture the feeling most intrinsically. Things excavated from history, not humans, but still point to an imaginary future. The hero's head (1956), at first glance, it appears to be the head of a man on a stainless steel base, like something excavated. Here, the head of the same name is fused with the helmet, flesh and technology into a form. This is in Gormley's Home and the World IIfrom where human form begins, changes into other things through interventions of more engraving or technological things. But where The hero's head Present something static, such as relics, Growth Form (1957) The process of time changes was frozen; the long and thin welded steel columns led to a strange tiny figure with a crescent-shaped moon and short, slender limbs. The sculpture itself hangs over those who see it, but the characters at the top are not underestimated to satisfy our gaze (if indeed, it has the same way as us). Instead, its abstract appearance and protruding limbs are looking up, beyond us and heaven, as if its next form, or the next step in our evolution may be there to wait for discovery.
If Gormley's sculptures show forms that are easily recognized as human but have different materials – 1983's work Untitled (sleeping characters) Lying and looking at the sky, putting the back of the head on the rocks, like a soft man might use a pillow in his bed, or tying his shirts while gazing at the summer sun, and then hunting makes us challenge his work and find traces of familiar humanity in it. The opposite linear form (1961) First look at the abstract fragments of welded steel, and start with the posture of communication. But the longer you look at it, the more these uncertain forms look almost like human characters. The curvature of their peaks is to Growth Formtheir entangled metal ends look like two people holding hands. But these sculptures must have an ending with their dispersed, almost uncertain relationship with human form, which is that we can see and recognize that any trace of ourselves is eventually gone. This seems to reach this point in “The Spin Off”, an exhibition of RafałZajko's work in the focus.
As the title of the Zajko exhibition suggests, “The Spin Off” imagines the idea of what will happen next, the title is a way to stand out from films, television shows and other forms of art. Most of the work here comes from reshaped films, including Solaris,,,,, Interesting games and A star was born –A feeling of the past is like the most crafty person, not only cultural, but human. Zajko explores through this language what human flesh might emanate in its next iteration. Rad II (2025) consists of almost overwhelming materials (including bioresin, bronze resin, stoneware and kimchi) and in its case (its front feels like a refurbished person; hidden and alien, probably something) is a small ball of material similar to Gormley's. The drop in seeds and baichi: It may contain a new form of origin, which may have been human. But besides that, “Rotation” also contains works that explicitly abandon human traces. Small flashing red light in the center The birth of the stars (2025) is a huge work that consumes the entire focus wall, located in a transparent circle where concrete cannot penetrate the perimeter. 2001: Space Odysseya work known for its desire to deprive humans of the ship, whose monotonous transmission “Sorry, Dave, I'm afraid I can't do it.” But against the backdrop of “rotating”, Zajko's Star More than just mentioning Kubrick's sci-fi masterpiece. Here, as we continue to evolve and transform, it is a point on the map, a feeling that may have been waiting for us for countless centuries or even thousands of years. Zajko's sculptures are tactile. Literally, they aren't as cold and heavy as the works of artists like Gormley and Hunt, and it's this relatively soft feeling, even if they might give in, which makes them strangely human. They may be as soft and fragile as our flesh, and if different evolutionary choices are made, some of our versions.
Solaris (2025) Made of melted church candles; like the various derivatives of the works of Zajko loaned its name to Zajko in this exhibition, it has past importance and transformed it into something else. This includes human fragments Rud Series or text materials used Solaris. But, as we all know, humanity does not exist here, although it may have been done a long time ago. Through exhibitions such as “Swivel”, “Abnormal” and “Witness”, these strange, carved characters reveal tension in the uncertainty in their relationship with us. The more time they look at them, the more likely they seem to imply that we, with our soft flesh, the coils of mortals and all human wisdom, for this world, we may not dare to think about the next thing about us as long as we hoped, and what we would see next for us if we would see ourselves as we would see. Growth Form or Home and the World II Become dated, freezing in time, waiting to be excavated like Hunter's welded steel helmet.
Anthony Gormley's “Witnesses: Early Lead Works“The yard at White Cube Mason will be closed on June 8, 2025. Richard Hunt's “Abnormal-Retrospective” has been unfolding at White Cube Bermondsey until June 29, 2025.
