Antony Gormley Horizon Field KUB Projekt

KUB Projekt 

Eine Landschaftsinstallation 

im alpinen Hochgebirge 

Vorarlbergs, Österreich 

A Landscape Installation in the 

High Alps of Vorarlberg, Austria 

Presented by 

Kunsthaus Bregenz 

Antony Gormley 

Horizon Field 

August 2010 – April 2012

08 09 

English 

The Kunsthaus Bregenz and the British artist Antony Gormley (born 

in 1950) are realizing a unique project in the mountains of Vorarlberg. 

Horizon Field will be the first art project of its kind erected in the 

mountains and the largest landscape inter vention in Austria to date. 

Horizon Field consists of 100 lifesize, solid cast iron figures of the 

human body spread over an area of 150 square kilometers in the 

communities of Mellau, Schoppernau, Schröcken, Warth, Mittelberg, 

Lech, Klösterle, and Dalaas. The work forms a horizontal line at 2,039 

meters above sea level. This height has no specific metaphorical or 

thematic relevance in the placement of the figures. It is an altitude 

that is readily accessible but, at the same time, lies beyond the realm 

of ever yday life. Some of the figures will be installed in places one 

can hike to or ski past in the winter. Others will be unapproachable 

though visible from certain vantage points. The works are neither 

representations (statues) nor symbols, but represent the place where 

a human being once was, and where any human being could be. 

Horizon Field engages the physical, perceptual, and imaginative 

responses of anyone coming within its relational field. Over the 2 

years during which this installation will be in place, the work will be 

exposed to the elements, to different lighting conditions, and to the 

changing seasons, thus enabling constantly new perceptions and 

impressions. 


Antony Gormley’s radical actuality as an artist derives from his 

desire to place an apparently completed classical theme, the 

human figure, into a new, universal context. Since the 1980s, when 

Gormley created the foundations for his oeuvre with figures cast 

from his own body in lead and iron, his principal concern has been 

to open up new artistic and social realms through a wide range of 

strategies. 

Going beyond the mere search for a further chapter in aesthetic 

investigations of form, Gormley is constantly preoccupied with the 

role of the human being–as an individual or mass and as a social 

being–and with its simultaneous role as object and subject represented 

by his sculptures. By reducing the human form to a trace or 

index, Gormley is able to release his figures from the bounds of traditional 

sculpture, set up on plinths in self-contained isolation and 

in accordance with their perceived function. He exposes his figures 

to modern perceptions of life, art, and space. Chief among these 

are a critical engagement with mass as a constitutive formal and 

emotional element of sculpture, an exploration of the sculptural 

and existential significance of space in contained and extended 

modes and, finally, the crucial issue (of special significance in the 

artist’s landscape projects) of human jeopardy and self-assertion 

in the world. Gormley’s art revolves around these three concerns, 

each of which varies in importance from work to work but is always 

present, if only latently. 

KUBProjekt Antony Gormley

His projects with and in the context of urban and natural landscapes 

in particular show his attempt to extend the radical approaches 

of early Land Art from the 1960s and 1970s into a new dimension. 

Even though there are many isolated sculptural interventions by 

Gormley, measured against his own ideas, the great “field experiments” 

comprising multiple figures represent the real challenge. 

These consist of three key types: the first, the Field series, is 

involved with the idea of a mass of figures immeasurably potentiated, 

emanating from the social commitment of many lay-people 

to the production of the figures. The second, Event Horizon, works 

with a defined number of castings of the artist’s body sited in individual 

contexts. These figures link specific locations on buildings 

in a city and interact with an urban network. With Horizon Field, 

the third concept, starting with Another Place (1997), continuing 

with Inside Australia (2002) and Time Horizon (2006), Gormley proposes 

that critical engagement does not take place in value-neutral 

spaces of art determined by aesthetic laws, such as museums, 

galleries, and public places, but in and with nature. Gormley thus 

situates his work within a context that is meaningful for ever y individual, 

where beauty and the sublime are paired with the knowledge 

that nature’s resources are in danger of being exhausted at 

an ever faster rate. 

Another Place and Horizon Field demonstrate Gormley’s strategic, 

conceptual thinking. The few rules that define the artistic system 

are decisive, opening up time to a multiplicity of planes for seeing, 

thinking, and interrelating. These include the relationship between 

the individual figure and the series; between constructed space 

and natural space; and between the factors of movement and time. 

The multilateralism of a mass exponentiated into a series tends 

toward a dissolution of the center and is thus an important factor in 

the democratization of the relations between space, sculpture, 

and viewer. Gormley has always been fascinated by this since it 

gives him the opportunity to extend his work into the open spaces 

of nature. Horizon Field presents a bold attempt to bring art and 

nature into a state of empathy. The idea of installing 100 figures at 

a height of 2,039 meters is captivating, not so much as a logistical 

challenge, but as a vision of a large-scale experiment to conceive 

of art and culture as an integral part of nature and to encourage a 

revised awareness about our role as cultural beings. Gormley’s 

Horizon Field unites all his basic artistic concerns on a large scale. 

Removed from the influential context of a museum, it opens up new 

fields of interrelations by locating art in a socialized natural landscape. 

The mountain landscape of Vorarlberg, with its specific mix 

of natural beauty, urbanity, and socialization of old valley communities, 

is for Gormley the ideal experimental field for a new determination 

of the relationship between nature and culture. 

A comparison with the work of an earlier artist will make clear the 

paradigm shift accomplished by Gormley. Walter De Maria’s Land 

Art project The Lightning Field (1977) proclaims in almost heroic


Another Place | 1997 

Gusseisen 

100 Elemente, 

je 189 × 53 × 29 cm 

Installationsansicht, 

Cuxhaven 

Seite 12/13 

Antony Gormley | Horizon Field 

August 2010 – April 2012 

Eine Landschaftsinstallation im 

alpinen Hochgebirge Vorarlbergs, 

Österreich 

100 lebensgroße Abgüsse eines 

menschlichen Körpers aus massivem 

Gusseisen, verteilt über ein 

Gebiet von 150 Quadratkilo metern 

(Detailaufnahme) 

Presented by Kunsthaus Bregenz 

© Antony Gormley und Kunsthaus 

Bregenz; Foto: Markus Tretter 

10 11 

terms the autonomy of art and, by extension, of all culture. The 

Lightning Field lies at a height of 2,195 meters on a plateau in 

west-central New Mexico. It consists of 400 polished, stainless 

steel poles, 5.2 centimeters thick and 6.2 meters long, placed 

6.7 meters apart to stake out a grid measuring a mile on one axis 

and a kilometer on the other. The poles are arranged so that their 

tips define an absolutely level plane, echoing the terrain. Nature 

here forms a grandiose backdrop for a demonstration of sublimity, 

evoked by the machine-made uniformity and beauty of the poles 

and by the mathematical exactitude of the grid. The work represents 

an act of unconditional freedom and self-assertion on the 

part of art vis-à-vis nature, made visible through the serial anonymity 

of the poles and their ordered configuration. The spectator 

experiences a value-free coexistence of two systems, their individual 

beauty enhanced by the dramatic form of their conjunction. 

With his work, De Maria increased awareness of the sublimity of 

a self-contained system called “art” by heightening its logical 

consistency through confrontation with nature. 

In contrast, Gormley integrates and almost loses his human shaped 

masses within a field determined by a given topography that links 

the palpable, the perceivable, and the conceptual in a seamless 

way. He aims to address issues relating to natural freedom and 

social embedment. Each of his 100 figures embodies a striving 

for both individuality and society. They face in ever y direction, but 

never towards one another. The distance between them, which 

varies according to the terrain, ranges from 60 meters to several 

kilometers. Together, they form a horizon that can be apprehended 


* Antony Gormley in an email to 

Kunsthaus Bregenz, April 2010 

visually in separate sections and mentally as a whole, engaging the 

viewer’s capacity for both physical and imaginative perception. 

Horizon Field does not aim to show humanity at the mercy of an 

omnipotent divine order, in the way familiar from some medieval 

images; neither does it seek to evoke the potential sublimity of 

socialized individuals in the isolated contemplation of natural 

sublimity, in the Romantic manner of a Caspar David Friedrich, 

or to establish an ideal artistic order in distinction to nature à la 

De Maria. Instead, Gormley literally comes down to earth in his 

project, to the reality of post-industrial landscape and society. 

But in no way has he lost sight of his original vision, which he 

describes thus: “Horizon Field is a clear indicator of a paradigm 

shift in art; that Culture which always used to be seen in distinction 

to Nature now has to be seen as integral to it (…). As with much of 

my work, Horizon Field asks an open question as to where the 

human project fits within the evolution of life on this planet. (…) It 

asks basic questions: who are we, what are we, where do we come 

from and to where are we headed? The work does this by engaging 

the physical, perceptual, and imaginative responses of anyone 

coming within its relational field.”* 

Eckhard Schneider, General Director of the PinchukArtCentre, Kiev


CH 

St. Gallen 35 km 

Zürich 120 km 

Basel 200 km 

Bodensee 

14 15 

Feldkirch 

FL 

Kunsthaus 

Bregenz 

Dornbirn 

Vorarlberg 

Bludenz 

D 

Ulm 120 km 

München 190 km 

Stuttgart 210 km 

KUBProjekt 

Schoppernau 

Lech 

Warth 

Mellau 

Über Horizon Field 

Horizon Field besteht aus 100 lebensgroßen Abgüssen 

eines menschlichen Körpers aus massivem Gusseisen. 

Jede Figur wiegt 640 kg. Die Figuren sind verteilt über 

ein Gebiet von 150 Quadrat kilometern in den Gemeinden 

Mellau, Schoppernau, Schröcken, Warth, Mittelberg, 

Lech, Klösterle und Dalaas. Das Werk bildet eine horizontale 

Linie auf 2.039 Metern über dem Meeresspiegel. 

On Horizon Field 

Horizon Field consists of 100 life-size, solid cast iron figures 

of the human body. Each Bludenz figure weighs 640 kg. The 

figures are spread 

A 14 

over an area of 150 square kilometers 

in the communities of Mellau, Schoppernau, Schröcken, 

Warth, Mittelberg, Lech, Klösterle, and Dalaas. The work 

forms a horizontal line at 2,039 meters above sea level. 

L 200 

Damüls 

A 

Innsbruck 190 km 

Salzburg 330 km 

Wien 620 km 

Holenke 

Kanisfluh 

L 193 

Mittagsfluh 

S 16 

Au

Dalaas 

Diedamskopf 

Schoppernau 

Hochkünzelspitze 

Rothorn 

Vorarlberg 

Üntschenspitze 

Zuger Horn 

Hoher Ifen 

Schröcken 

Mohnenfluh 

Klösterle 

Krieger 

Horn 

Omeshorn 

Widderstein 

Lech 

Mittelberg 

Karhorn 

Stuben 

Warth 

L 198 

Zürs 

Rüfikopf 

D 

Ochsenbodenkopf 

1000 m 

Tirol


Deutsch/englisch 

Hg. Kunsthaus Bregenz 

Essays von Eckhard Schneider, 

Mar tin Seel and Beat Wyss 

Gestaltung: Neil Holt, 

Typographie/Entwurf, Köln 

Ca. 176 Seiten, 22,5 × 30 cm 

Hardcover, Leinen mit 

Schutzumschlag 

Erscheinungstermin: 

Januar 2011 

Preis: 48 € 

German/English 

Ed. Kunsthaus Bregenz 

Essays by Eckhard Schneider, 

Mar tin Seel, and Beat Wyss 

Graphic design: Neil Holt, 

Typographie/Entwurf, Cologne 

Approx. 176 pages, 22.5 × 30 cm 

Hardcover, cloth with 

dust jacket 

Due to be published: 

Januar y 2011 

Price: € 48 

Online-Shop 

www.kunsthaus-bregenz.at 

Publikation 


Antony Gormley Horizon Field 

Der für seine spektakulären Projekte in archetypischen Naturlandschaften 

bekannte Antony Gormley realisiert sein jüngstes 

Werk Horizon Field in der Region des Bregenzerwaldes und des 

Arlbergs. Horizon Field stellt eine Beziehung zwischen dem Greifbaren, 

dem Wahrnehmbaren und dem Vorstellbaren her. Die Arbeit 

wirft die Frage auf, wie die Pläne der Menschen zur Evolution des 

Lebens auf diesem Planeten passen, und thematisiert den kulturellen, 

natürlichen und historischen Hintergrund einer Landschaft. 

Vor allem diesen Aspekt greifen die Autoren des Katalogbuchs – 

Martin Seel, Beat Wyss und Eckhard Schneider – aus unterschiedlichen 

Perspektiven auf und verorten dieses singuläre Werk in der 

zeitgenössischen Ästhetik. Großzügig präsentierte Aufnahmen 

der Landschaftsinstallation und Abbildungen früherer Werke des 

Künstlers begleiten die Essays. 

Antony Gormley, famous for his spectacular projects in archetypal 

natural landscapes, is realizing his latest work Horizon Field in the 

Bregenzerwald and Arlberg regions. Horizon Field sets up a relationship 

between the palpable, the perceivable and the imaginable. 

The work questions where the human project fits within the evolution 

of life on this planet and addresses the cultural, natural, and 

historical background of a landscape. It is above all this aspect that 

the authors of this catalogue–Eckhard Schneider, Martin Seel, and 

Beat Wyss–examine from different perspectives, positioning this 

unique work within the field of contemporar y aesthetics. Accompanying 

the essays will be sweeping photographs of the landscape 

installation alongside images of the artist’s previous works. 

24 25 KUBProjekt Antony Gormley


Entwurf für die 

Edition Horizon Field 

Sketch for the edition 


Radierung auf Büttenpapier 

Rives Natural, 280 g/m 2 

57 × 76 cm 

Limitierte Auflage von 

80 Exemplaren + 6 A.P., 

nummeriert und signiert 

Preis: 950 € (inkl. 10% MwSt.) 

zzgl. Versand- und 

Verpackungskosten 

Etching on handmade paper 

Rives Natural 280 gsm 

57 × 76 cm 

Limited edition of 80 pieces 

+ 6 A.P., 

numbered and signed 

Price: € 950 (incl. 10% VAT), 

plus forwarding expenses 

Weitere Informationen 

und Bilder im 

For further information 

and images go to 

Online Shop 


Künstleredition 


Aus der Werk- und Produktionsnähe zu den Künstlern entstehen 

exklusiv für das Kunsthaus Bregenz spezielle Editionen. 

Close cooperation with the artists results in special editions 

designed exclusively for the Kunsthaus Bregenz. 

Antony Gormley Horizon Field | 2010 

Anlässlich des Landschaftsprojekts Horizon Field hat Antony 

Gormley eine limitierte Edition entworfen. Die Radierung, 

gedruckt auf schwerem Büttenpapier, erscheint in einer Auflage 

von 80 Exemplare und zeigt das für die Arbeit charakteristische 

Motiv des Menschen in einem archetypischen Naturraum, 

aufgefordert zur Neubestimmung des Verhältnisses von Kultur 

und Natur. 

In conjunction with the landscape project Horizon Field Antony 

Gormley has designed a limited edition. The etching, which will 

be printed on heavy handmade paper, will appear in a edition 

of 80 pieces and depict the motif characteristic of Horizon Field: 

man in an archetypal natural space challenged to re-define the 

relationship between culture and nature.

2006 2009 

Michael Craig-Martin 

Signs of Life | 2006 

Johanniterkirche Feldkirch 

Jan Fabre 

From the Feet to the Brain | 2009 

Biennale Venedig, 

53. Kunstausstellung | Vaporetto 

KUB’s Projects in the Field 

With its exhibitions and projects the KUB addresses current challenges 

in the international art scene. Moreover, its work and especially 

its projects in Vorarlberg contribute strongly to promoting the 

cultural identity of the region. Former field projects in Vorarlberg 

included Anish Kapoor (2003), Jenny Holzer (2004), Janet Cardiff 

(2005), and Michael Craig-Martin (2006) in the Johanniterkirche 

in Feldkirch, as well as Gottfried Bechtold’s work at the Silvretta 

Dam—Signatur 02—, which the KUB has since purchased for its 

collection, and the xenon projections by the American artist Jenny 

Holzer (2004). The latter consisted of a series of large-format 

texts which the artist projected onto architectural and natural 

monuments (e. g. the Old Parish Church in Lech or the rock face 

Kanisfluh). With Inside the Work, the Kunsthaus Bregenz presented 

itself as an institution in an international context at the Austrian 

Cultural Forum in New York in 2005. 

The project Horizon Field is in keeping with the KUB’s series of 

already initiated artistic interventions in public space in Vorarlberg 

and, at the same time, represents a climax because this field 

of figures is being installed in one of Vorarlberg’s most beautiful 

landscapes.


KUB Foto © Hélène Binet 


Karl-Tizian-Platz 

6900 Bregenz, Austria 

Phone (+43-55 74) 4 85 94-0 

Fax (+43-55 74) 4 85 94-408 

kub@kunsthaus-bregenz.at 


Prospekte und persönliche 

Tipps erhalten Sie bei: 

For brochures and personal 

suggestions, contact: 

Vorarlberg Tourismus 

Poststraße 11, 6850 Dornbirn 

Phone (+43-5572) 377033-0 

Fax (+43-5572) 377033-5 

info@vorarlberg.travel 

www.vorarlberg.travel/horizonfield 

Informationen 


KUB – ein starkes Stück Kunst aus Vorarlberg 

Das Kunsthaus Bregenz ist ein starkes Stück Kunst aus Vorarlberg 

in Österreich. Basierend auf seinem spezifischen internationalen 

Kunstprofil, ist das KUB eingebettet in einer landschaftlich 

reizvollen und wirtschaftlich erfolgreichen europäischen Region, 

vernetzt im internationalen Diskurs. 

KUB–A Strong Art Force From Vorarlberg 

The Kunsthaus Bregenz is a strong Austrian art force from Vorarlberg. 

Based on its international art profile, KUB is not only embedded 

in a region in Europe that is both stimulating for its landscape 

and successful economically, but it is also well integrated in the 

international discourse of contemporar y art and current themes. 

Vorarlberg 

Vorarlberg ist ein kunstsinniges Land im Westen Österreichs. 

Gelegen zwischen Bodensee und Arlberg, in Nachbarschaft 

zur Schweiz, zu Deutschland und Liechtenstein. 

Wenn Sie Horizon Field besuchen möchten, Informationen 

über Wanderwege, Bergbahnen, Unterkünfte, das gastronomische 

Angebot und weitere Veranstaltungstipps wünschen, 

dann gibt Ihnen die Website www.vorarlberg.travel einen guten 

Überblick. Dort können Sie Unterkünfte auch direkt buchen. 

Situated in Austria’s very west, between Lake Constance and 

the Arlberg mountains, neighboring Switzerland, Germany, 

and the Principality of Liechtenstein, Vorarlberg is a region with 

a fond liking for the arts. 

If you want to visit Horizon Field, need nuts-and-bolts information 

about hiking trails, cable cars and lifts, accommodation, 

restaurants and inns, or tips and hints about what to do, please 

visit www.vorarlberg.travel. There, you can also directly book 

your accommodation.

Hauptsponsor 

Partner-Sponsoren 

Sponsoren und Partner 


Partner bei der Projektumsetzung und Sachsponsoren 

Das Kunsthaus Bregenz bedankt sich bei seinen Partnern und 

Sponsoren für die großzügige finanzielle Unterstützung und die 

tatkräftige Mitarbeit und Einbringung von Sachleistungen bei 

der sehr komplexen Umsetzung des Projektes. Die Realisierung 

ist nur durch die vielen Partner und Unterstützer möglich gewesen, 

die damit hohes kulturelles Engagement bewiesen haben. 

The Kunsthaus Bregenz would like to thank its partners and sponsors 

for their generous financial support, their active cooperation, 

and the materials they donated to ensure the success of this 

highly complex project. Without the help of the many partners and 

supporters, who have all shown their strong cultural dedication, 

this project would not have been possible. 

ATT Industrie high access work GmbH | Bergrettung Klösterle | Bergrettung Lech | 

Die Arlberg Wanderer | die.wildbach Vorarlberg | Doppelmayr Seilbahnen GmbH | 

Bauhof der Gemeinde Lech | Hilti Foundation | Militärkommando Vorarlberg | 

Norm Beton | Rüfikopf-Seilbahn AG | Seillifte Oberlech GmbH | Skilifte Lech GmbH | 

Skilifte Schröcken Strolz GmbH | Skilifte Warth GmbH & Co. KG | Ski Zürs AG | SOLA | 

Stubner Bergbahnen | Vorarlberger Kraftwerke AG | WUCHER Helicopter GmbH 

30 31 


Antony Gormley | Horizon Field 


Eine Landschaftsinstallation im 

alpinen Hochgebirge Vorarlbergs, 

Österreich 

100 lebensgroße Abgüsse eines 

menschlichen Körpers aus massivem 

Gusseisen, verteilt über ein 

Gebiet von 150 Quadratkilo metern 

(Detailaufnahme) 

Presented by Kunsthaus Bregenz 

© Antony Gormley und Kunsthaus 

Bregenz; Foto: Markus Tretter 

Kulturträger 

Unser besonderer Dank gilt 

Grundbesitzer: allen 34 Grundbesitzern und Grundbesitzer-Gemeinschaften der 100 Standorte | 

Gemeinden: Dalaas | Klösterle | Lech | Mittelberg | Mellau | Schoppernau | Schröcken | Warth | 

Ronald Brugger (Dr. Brugger & Partner ZT GmbH) | Eckhard Schneider | Ewald Schneider (VKW) | 

Willi Sieber (Ökologie Institut) | Marcell Strolz (Alpine Ibex Consulting GmbH) | 

Kooperationspartner 

Bodensee-Vorarlberg Tourismus | Bregenzerwald Tourismus | Kleinwalsertal Tourismus | 

Lech Zürs Tourismus | Vorarlberg Tourismus | Bregenzer Festspiele 

Medienpartner 

ORF | Ö1 | Vorarlberger Nachrichten



Karl-Tizian-Platz 

6900 Bregenz, Austria 

Phone (+43-55 74) 4 85 94-0 

Fax (+43-55 74) 4 85 94-408 

kub@kunsthaus-bregenz.at 


Cosima von Bonin 

18.07. – 03.10.2010 

raumlaborberlin 

18.07. – 03.10.2010 

Harun Farocki 

23.10.2010 – 09.01.2011 

Öffnungszeiten | opening hours 

Dienstag – Sonntag 10 – 18 Uhr 

Donnerstag 10 – 21 Uhr 

Tuesday – Sunday 10 a.m. – 6 p.m. 

Thursday 10 a.m. – 9 p.m. 

18.07. bis 22.08. tägl. 10 – 20 Uhr 

18.07. until 22.08. daily 10 a.m. – 8 p.m. 

Kasse | counter 

Phone (+43-55 74) 4 85 94-433 

Eintrittspreise | admission 

Erwachsene | adults 8 € 

Ermäßigungen | reductions 6 € 

Freier Eintritt für Kinder und 

Jugendliche bis 19 Jahre | 

free admission for children 

and youths 19 or under 

Schüler und Lehrlinge ab 20 | school 

students and trainees 20 or older 1,50 € 

Jahreskarte | annual ticket 29 € 

Jahreskarte ermäßigt | annual ticket 

reduced 21 € 

10% Ermäßigung für Ö1-Club- 

Mitglieder | 10% reduction 

for Ö1 Club members 

Gruppen ab 15 Personen | 

15 people and more 6 € 

Führungen für Gruppen ab 

15 Personen | guided tours 

for 15 people and more 5 € 

Information und Anmeldung 

zu Führungen | information and 

registration for guided tours 

Kirsten Helfrich, DW | ext. -415 

k.helfrich@kunsthaus-bregenz.at 

Sekretariat | office 

Margot Dörler-Fritsche, DW | ext. -409 

m.doerler-fritsche@ 

kunsthaus-bregenz.at 




Direktor | director 

Yilmaz Dziewior 

Kaufmännischer Direktor | 

chief executive 

Artur Vonblon 

Kurator | curator 

Rudolf Sagmeister 

Kuratorin KUB-Arena | 

curator of the KUB Arena 

Eva Birkenstock 

Kommunikation | communications 

Birgit Albers, DW | ext. -413 

b.albers@kunsthaus-bregenz.at 

Assistentin | assistant 

Melanie Büchel 

Kunstvermittlung | art education 

Winfried Nußbaummüller, DW | ext. -417 

w.nussbaummueller@ 

kunsthaus-bregenz.at 


Kirsten Helfrich 

Publikationen/Editionen | 

publications/artist editions 

Katrin Wiethege, DW | ext. -416 

k.wiethege@kunsthaus-bregenz.at 


Antje Roth 

Verkauf Editionen | sales editions 

Caroline Schneider, DW | ext. -444 

c.schneider@kunsthaus-bregenz.at 

Assistentin des Direktors | 

assistant to the director 

Beatrice Nussbichler, DW | ext. -418 

b.nussbichler@kunsthaus-bregenz.at 

Veranstaltungsmanagement | 

event management 

Mirjam Steinbock 

mirjam.steinbock@kulturhaeuser.at 

Phone (+43-55 74) 531 06-911 

Technik | technical staff 

Stephan Moosmann | Markus Tembl | 

Markus Unterkircher | Stefan Vonier | 

Helmut Voppichler 

Initiator Projekt Horizon Field | 

initiator project Horizon Field 

Eckhard Schneider 

Copyright 

© 2010 by Kunsthaus Bregenz 

Konzeption | concept 


Text | text 

B. Albers | W. Nußbaummüller | 

A. Roth | E. Schneider | K. Wiethege 

Redaktion | editorial work 

Birgit Albers | Melanie Büchel 

Übersetzung | translation 

Kimi Lum | Michael Eldred 

Lektorat | copy editors 

W. Astelbauer | A. Roth | 

C. Wagner | K. Wiethege 

Abbildungen | illustrations 

Courtesy of Antony Gormley 

Bildrechte | picture credits 

© Antony Gormley | Hélène Binet | 

James Ewing | Benjamin Katz | 

Helmut Kunde | Ashley de Prazer | 

Clare Richardson | Markus Tretter 

Basiskonzept Grafik-Design | 

basic graphic design 

Clemens Theobert Schedler 

Büro für konkrete Gestaltung 

Gestalterische Ausführung | 

graphic design 

Bernd Altenried | Stefan Gassner 

Unser besonderer Dank gilt | 

special thanks to 

Antony Gormley | Antony Gormley 

Studio, Lisa Maddigan, Bryony 

McLennan | Eckhard Schneider

Antony Gormley Horizon Field KUB Projekt

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