Another Place 26

Friday was a glorious day here in the north-west. The November sun shone in a cloudless sky of brilliant blue.  An old friend was visiting, back in Liverpool for the first time in years.  She had never seen Anthony Gormley’s Another Place on Crosby beach so we took her there, happy to return no matter how many times to a public art work that has grown in the affections of the public on Merseyside, and – along with Capital of Culture year in 2008 – helped to put Liverpool and Merseyside on the tourist map.

It was a perfect morning to see the installation – crisp and clear, with views across to the Wirral and beyond to the Welsh mountains.  In three hours it would be high tide, and the estuary was busy with traffic taking advantage of the high water – ferries leaving, container vessels moving up-river.

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We walked the length of the beach, from the low numbers to the high: Another Place consists of 100 cast-iron, life-size figures, each one numbered, spread out for about two miles along the shore, with some figures situated nearly half a mile out to sea. The figures were each made from casts of the Gormley’s own body.  They stand on the beach, all of them looking out to sea, staring at the horizon in silent expectation.  Gormley once said:

I think there’s that thing in Another Place of looking out.  It’s what we all do: that’s why people go to the seaside, to see the edge of the world, because most of us spend most of our time in rooms.

Another Place is now a permanent fixture on Crosby beach.  But we nearly lost it.  The work had previously been installed at Cuxhaven in Germany, Stavangar in Norway and De Panne in Belgium before it came to Crosby in 2005 with the benefit of funding from the Mersey Waterfront Programme, the Mersey Docks and Harbour Company and Arts Council England.

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However, Sefton Council had only granted temporary planning permission that was due to expire in November 2006. Despite the work attracting huge interest and drawing 600,000 visitors in 18 months, it looked as if it was destined to leave Merseyside for New York state.  A second application was made extend planning permission for four months, to allow time to raise the £2.2m needed to buy the work from Gormley and maintain it thereafter. The application was rejected because of representations made to the authority that ‘several people had had to be rescued after being caught by the tide when walking out to see the most distant figures’.

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But the tide of support in favour of the work’s retention was substantial: so much so that in March 2007 Sefton borough council finally announced that permission had been granted for the work to remain in place permanently.  Since then Another Place has attracted hundreds of thousands of visitors and now regularly features in Liverpool tourism promotional material.

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Visitors engage positively with the figures, dressing them with wigs, bikinis, hula skirts, Liverpool and Everton football shirts, seaweed dreadlocks and costumes of every description.  People photograph each other with the iron men in all sorts of poses. And they pause awhile, contemplating the meaning of this artwork’s dramatic intervention in the broad sweep and big skies of the estuary landscape.

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Each person leaves the beach with their own sense of the work’s meaning. For Gormley, Another Place was a poetic response to the individual and universal experience of emigration: sadness at leaving, and the hope of a new future in another place. He was interested in the motivations that link contemporary migrants, such as those who risk their lives making the perilous sea crossing from from north Africa seeking a home in Europe.  He suggests that in an unequal world in which we accept the massive mobility of monetary instruments across borders, we seem to have difficulty in accepting the movement of living people.

If the work was envisaged as a response to the theme of migration, the complex administrative negotiations and arrangements in locating it here – and then ensuring it could remain – raised issues about the impact of a public artwork on the landscape. Gormley has said that the struggle over Another Place:

Illustrated that no landscape is innocent, no landscape is uncontrolled. Every landscape has a hidden social dimension to do with both its natural usage and the politics of territory. I like the idea that attempting to ask questions about the place of art in our lives reveals these complex human and social matrices.

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Visiting Another Place now, nearly seven years after its installation along this shoreline, the work seems to be becoming inexorably an organic, barnacle-encrusted element in the landscape.  This was Gormley’s intention: he saw the work as harnessing the ebb and flow of the tide to explore man’s relationship with nature, asking what it is to be human:

The seaside is a good place to do this. Here time is tested by tide, architecture by the elements and the prevalence of sky seems to question the earth’s substance. In this work human life is tested against planetary time. This sculpture exposes to light and time the nakedness of a particular and peculiar body. It is no hero, no ideal, just the industrially reproduced body of a middle-aged man trying to remain standing and trying to breathe, facing a horizon busy with ships moving materials and manufactured things around the planet.

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The construction of Gormley’s Angel of the North in 1998 was a watershed moment in the recent story of public art; since then, Another Place has joined a lengthening catalogue of public art installations.  But the public funding of art works in public places is not without its critics.

Projects such as Another Place generate a great deal of enthusiasm among local authorities (keen to promote regeneration through tourist numbers) and the arts world (keen for commissions), but sceptics believe they leave the intended audience – the public – feeling a mixture of bemusement, indifference and outright hostility. Is public art rarely more than a vanity project for those involved, reducing art to the same bracket as other civic amenities? Should genuinely public art be funded by voluntary subscription rather than tax-payers’ money? Or does state-funded public art provide a vital function in engaging those who rarely venture into galleries and enliven otherwise drab public spaces?

Gormley, when asked, ‘What’s the point of public art?’ responded simply, ‘To make the world a little bit more interesting’.

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Another Place … another day.  I took these photos of the installation at sunset on a March evening in 2010.

Crosby beach December sunset

Crosby beach December sunset 2

Crosby March 2010

See also


6 thoughts on “Another day at Another Place: looking to the horizon in silent expectation

  1. This is something I am hoping to visit over the next few months, possibly taking the inlaws over to see it who are from Newcastle. Whilst it wasn’t particularly well received when it first arrived, the Angel is such as iconic emblem at the gate to Newcastle you simply cannot imagine it not being there. I’d suggest it’s almost as iconic now as the Tyne Bridge!

    I love public art like this and totally agree with Gormley that it should be about making the world a bit more interesting. Outside Liverpool, who’d heard of Crosby before this? There was probably no reason to visit it! The faceless installations at Crosby probably aren’t intended to be some to interact with as such, but it’s great that people are putting tops, bikinis and the like because it brings them to life.

    The points you make in the blog about moving money around is something we expect, yet cannot accept people moving just as easily is well made and certainly something to think about.

    Thanks again for a great blog!

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