Antony Gormley's Still Standing at The Hermitage

I have to say, the exhibition is remarkable – in many, many ways.

 

As usual with Antony Gormley’s work, its visual simplicity belies its complex conceptualisation.

 

Nine classical marble statues have been re-arranged in one hall of the Hermitage, and 17 Gormley sculptures have been arranged in the next hall – fairly straightforward, really.

 

But listening to Antony – erudite, eloquent and very generous in his gratitude to the British Council – brings home the unusual nature of his intervention.

 

First comes the fact that he altered the fabric of the rooms – the lighting was changed, the classical statues were re-arranged, and the floor was raised to enable the ancient gods and the modern, human-size sculptures to be viewed in the round and on the same level.

 

How often have you had the chance to walk around ancient statues of the gods? Their flaws become evident when you do.

 

Second is the fact that, rather than staring out at you from a colonnade, these gods have been arranged so that they appear to be communicating with each other and with you, interacting on a human level.

 

Most remarkable, however, is that Gormley was allowed to ‘mess around’, as he put it, with one of the Hermitage’s most prestigious and revered collections.

 

And it just illustrates the trust that can exist when creativity, intellect and mutual respect come together.

 

This was, as both artist and curator said on numerous occasions, an experiment that might or might not work.

 

Judging from the reactions I heard from the visitors, I have no doubt about its artistic success. But for me this is a major cultural relations coup that underlines what can happen when generosity is part of the equation.

 

Because, let’s be clear about this, this is a risky but generous gesture.

 

Paul de Quincey is British Council Director Russia