If One & Other is an image of British democratic life in our time, it is a pessimistic one. It is a portrait of a society in which people will try anything to get their voices heard, even stand on a plinth, but where no one can hear what they’re saying.
Saturday, 10 October 2009
I am, I said
The quintessential Noughties art project, with its connotations of permanent surveillance and fleeting celebrity, has to be Antony Gormley’s One & Other, in which he encouraged members of the public to occupy the empty plinth in London’s Trafalgar Square. As it comes to its end, critic Jonathan Jones is unimpressed: