Liam Gillick, The Light is no Brighter at the Centre
Contemporary Art Centre (CAC), Vilnius, Lithuania
17 November 2017 – 14 January 2018
Solo exhibition curated by Neringa Bumblienė.
Liam Gillick
Liam Gillick, Consumption Channelled, 2018, powder-coated aluminium, 32 x 45 x 8 cm / 12.6 x 17.7 x 3.1 in
Liam Gillick, Critical tiles..., 2018, matte black vinyl on wall, 300 x 300 cm / 118.1 x 118.1 in
Liam Gillick, Accountability Channelled, 2018, powder-coated aluminium, 32 x 90 x 8 cm / 12.6 x 35.4 x 3.1 in
Liam Gillick, Logies. Graphies., 2018, matte black vinyl on wall, 250 x 205 cm / 98.4 x 80.7 in
Liam Gillick Distinct Elevation 2017 powder coated aluminium, Plexiglas 200 x 280 x 140 cm / 78.7 x 110.2 x 55.1 in
Liam Gillick, Reached Horizon, 2017, powder-coated aluminium, 30 elements, 185 x 400 x 5 cm / 72.8 x 157.5 x 2 in
Liam Gillick AC/DC Joy Division House,
Absent Model Of A Social Centre For Teenagers For Milan 1993 (Porto), 2016
Acrylic and text, Disklavier piano with sound, artificial red snow
Installation view of Campaign exhibition (part III – 26 May until 25 September 2016) at Museu de Arte Contemporânea de Serralves, 2016
Photo: Filipe Braga, © Fundação de Serralves, Porto
Liam Gillick
Post Discussion Development Platform 2014
powder coated aluminium, plexiglas
240 x 120 x 120 cm / 94.5 x 47.2 x 47.2 in
Liam Gillick Neural Mechanisms 2016 birch plywood, two pack lacquer - RAL5022, mirror 200 x 102.5 x 30 cm / 78.7 x 40.4 x 11.8 in
Liam Gillick riggedattraction 2014 powder coated aluminium 50 elements 180 x 640 x 10 cm / 70.9 x 252 x 3.9 total size
Liam Gillick
Complete Bin Development
2013
powder coated aluminium, Plexiglas
6 elements, each element 300 x 150 x 150 cm / 118.1 x 59.1 x 59.1 in
Progression Stream
Devised Production Structure
(The doors to the administration building have been left open) 2012
Three elements
Element 1: powder-coated aluminium, Plexiglas, 200 x 250 x 240 cm
Element 2: powder-coated aluminium, 200 x 250 x 240 cm
Element 3: Vinyl text cut from Adobe Illustrator™ EPS file, Dimensions variable
Lesser Reduction
2012
powder coated aluminium
16 elements
each element 180 x 3 x 15 cm / 70.9 x 1.2 x 5.9
over all size 180 x 198 cm / 70.9 x 78 in
A Game of War Structure
2011
anodized and powder-coated aluminium
edition of 4
106.5 x 125 x 155 cm / 41.9 x 49.2 x 61 in
IRISH MUSEUM OF MODERN ART, DUBLIN
Multipied Resistance Screened
2010
site specific installation
Chateau la Coste, Aix en Provence
McNamara Motel
1997/2011
white neon
Unique with 1 AP
350 x 37 cm / 137.8 x 14.6 in approx
Stacked Revision Structure
2005
powder-coated aluminium
360 x 360 x 360 cm
Collection Albright-Knox Art Gallery, Buffalo. NY
Lying on Top of a Building...
The Clouds Looked no Nearer than when I Was Lying on the Street...
2010
stainless steel
each-run-of-text-60x18.28x20cm
Fairmont, Pacific-Rim, Vancouver
Dynamica Building (with Rodrigo Gomez Villaseñor)
2009
various materials
Gebäude building in Guadalajara, Mexico
Registered Expansion
2010
powder coated aluminium, transparent Plexiglas,
5 x 200 x 240 cm / 2 in x 78.7 in x 94.5
Negotiated Collapse
2010
powder coated aluminium, transparent Plexiglas, Unique
wall mounted screen structure
230 x 50 x 20 cm / 90.6 x 19.7 x 7.9 in
24/7 Kiosk
2009
painted steel
400 x 400 x 400 cm
installation view, Zeebrugge, Belgium
Grouped Decided
2008
painted aluminium, opaque Plexiglas
150 x 300 x 30 cm
59.1 x 118.1 x 11.8 in
Expansion in the snow
2010
powder coated aluminium, plexiglas, Unique
two elements each:
50 x 200 x 10cm / 19.7 x 78.7 x 3.9
Related-Faction
2008
anodised-aluminium, Plexiglas
each element 50x120x10cm
Government-Art-Collection,London
Red snow
2010
powder coated aluminium, plexiglas, Unique
two elements each: 50 x 75 x 10 cm / 19.7 x 29.5 x 3.9 in
all hawaii eNtrees / luNar reGGae
2006
installation view, Irish Museum of Modern Art
Projected Replapse
2008
painted aluminium
20 elements
200 x 15 x 3 cm each
overall size, 200 x 136 x 15 cm
Home Office London
2002-2005
Building in Marsham Street, London
Government Art Collection, London
Four Levels of Exchange
2005
powder-coated aluminium
4 elements, each 50 x 460 cm (diameter)
LAC - Lufthansa Aviation Centre, Frankfurt am Main
56th Floor Structure
2004
powder-coated aluminium
240 x 240 x 240 cm
installation view:
Singular Forms, Solomon R. Guggenheim Museum, New York, 2004
Liam Gillick, Denominator Platform, installed at Goethe-Institut Irland, Dublin, 2018
Liam Gillick, The Light is no Brighter at the Centre, Contemporary Art Centre (CAC), Vilnius, Lithuania, 17 November 2017 – 14 January 2018
ELBPHILHARMONIE REVISITED
2017
Deichtorhallen, Hamburg
Fotos © : Henning Rogge / Deichtorhallen Hamburg
A Game of War (Terrain), 2016
Painted wood and text
Installation view of Campaign exhibition (part III – 26 May until 25 September 2016) at Museu de Arte Contemporânea de Serralves, 2016
Photo: Filipe Braga, © Fundação de Serralves, Porto
Liam Gillick
What’s What in a Mirror
Dublin City Gallery The Hugh Lane
28 April 2016 - 25 September 2016
Liam Gillick
From 199C to 199D
Le MAGASIN, Centre National d'Art Contemporain de Grenoble
6 JUNE - 7 SEPTEMBER 2014
For the doors that are welded shut
Installation view
Kerlin Gallery
27 July – 14 September 2013
From 199A to 199B
2012
Hessel Museum of Art, Bard College
Two Short Plays
2009
Eastside Projects, Birmingham
How are you going to behave? A kitchen cat speaks 2009, wood, lamps, stuffed cat, text, door blinds, MP3 player, dimensions variable
Executive Two Litre GXL
2009
MAK, Vienna
Three Perspectives and a Short Scenario
2008-09
Museum of Contemporary Art, Chicago
Wall Diagrams From The Early 1990s and 2000s
2009
House of Art, Czech Republic
Theanyspacewhatever
2008
Guggenheim Museum, New York
Social Sculpture
2008
Whitechapel Gallery, London
Construcción de Uno (Prequel)
2006
Tate Triennial
How to improve the World
2006
Hayward Gallery, London
A short text on the possibility of creating an economy of equivalence
2005
Palais de Tokyo, Paris
b. 1964, Aylesbury, England
Liam Gillick is one of the most prominent and important figures to have emerged in international contemporary art since the mid-1990s. The diverse forms of his art—ranging across sculpture, installation, film-making, writing and other, widely varied, collaborative projects—often allude to pivotal moments in the history of modern and postmodern art. In particular, the profound, dual influence of minimalism and conceptualism is evident both in his recurrent sculptural use of sleek modular forms (strictly colour-coded based on the RAL system) and in his continued commitment to more ‘dematerialised’ modes of practice (his many texts and talks are, for example, understood as integral elements of his art).
Crucially, however, Gillick’s references to prior forms of progressive art are always situated in relation to other vital co-ordinates for understanding the place of art within contemporary culture. Questions of economy, labour and social organisation are ongoing pre-occupations. So, the precisely calibrated use of Plexiglas and aluminium in a Liam Gillick sculpture might recall minimalism’s ‘specific objects’, but these materials are also employed on the basis of other associations—as, for example, the main components of riot shields or corporate signage. Gillick’s work brings apparently contradictory meanings into renewed proximity, thus repeatedly testing—and troubling—the terms and expectations of art within contemporary capitalism.
Current/upcoming exhibitions include A Depiction of a Horse is not a Critique of a Horse, Kerlin Gallery, Dublin (23 November – 19 January); Neues Museum, Nürnberg (14 March – 19 July 2019); MADRE Museum, Naples (May 2019); Maureen Paley, London (October 2019). Liam Gillick has had many solo exhibitions including Contemporary Art Centre, Vilnius (2017– 18); Fundação de Serralves, Porto (2016-17); Dublin City Gallery The Hugh Lane (2016); Stedelijk Museum, Amsterdam (2015); MAGASIN, Grenoble (2014); The Contemporary Austin, TX (2013-14); Bampton Lecture Series, Columbia University, New York (2013); Hessel Museum of Art, Bard College, Annandale-on-Hudson, New York (2012); Museum Stzuki, Lodz, Poland (2011); Kunst-und Ausstellungshalle der Bundesrepublik Deutschland, Bonn, Germany (2010); German Pavilion, Venice Biennale, Venice (2009); Kunsthalle Zürich, Zürich (2008), travelling to Witte de With, Rotterdam (2008); Palais de Tokyo, Paris (2005).
Selected biennales include Okayama Art Summit, Japan (2016); Yinchuan Biennale, China (2016); EVA International, Ireland (2016); 14th Istanbul Biennale (2015); 8th Shanghai Biennale, Shanghai, China (2010) and the German Pavilion, 53rd Venice Biennale (2009).
Liam Gillick
A Depicted Horse is not a Critique of a Horse
23 November 2018 – 19 January 2019
Park, Guangzhou
Holly's Gallery, Guangzhou, China
16th March – 16th May 2017
DEEP ONE PERFECT MORNING
Caroline Achaintre, Aleana Egan, Mark Francis, Liam Gillick, Sam Keogh, Isabel Nolan and Jan Pleitner
18th July - 28th August 2014
Liam Gillick
For the doors that are welded shut
27th July - 14th September 2013
13.07.12 - 31.08.12
Group Exhibition
13 July - 01 September 2012
Someone Else's Life
Liam Gillick, Siobhan Hapaska, Callum Innes, Jaki Irvine
14th January - 12th February 2011
Liam Gillick
SEVEN STRUCTURES AND A LARGE VODKA SODA...
25th March - 1st May 2010
FIFTY PERCENT SOLITUDE
Willie Doherty, Maureen Gallace, Liam Gillick, Siobhan Hapaska, Stephen McKenna, Isabel Nolan, Sean Scully, Hiroshi Sugimoto & Paul Winstanley
27th November 2008 - 11th February 2009
Celebrating 20 Years
An exhibition of new work by Kerlin Gallery Artists
28th April - 24th May 2008
Liam Gillick
Literally Based on H.Z.
11 November - 10 December 2006
Architecture Schmarchitecture
Group Exhibition
21 March - 26 April 2003
Liam Gillick, A Depicted Horse is not a Critique of a Horse
2018
Liam Gillick, Industry and Intelligence
2016
Liam Gillick, What's What in a Mirror
2016
Liam Gillick, From 199A to 199B
2012
Liam Gillick
Abu Dhabi Art 2012
2012
Liam Gillick, A Syntax of Dependency:
2011
Liam Gillick, One long walk… Two short piers…
2010
Liam Gillick 2009: Deutscher Pavillion La Biennale Di Venezia
Liam Gillick
2009
Liam Gillick, Meaning
2009
Liam Gillick, Factories in the Snow
Liam Gillick
2007
Liam Gillick, Again the Metaphor Problem and Other Engaged Critical Discourses about Art
Liam Gillick
2007
Liam Gillick, Proxemics; Selected Writings (1988-2006)
2006
Liam Gillick: Woven / Intersected / Revised
Liam Gillick
2005
Liam Gillick, McNamara Hotel
2005
Liam Gillick, Literally No Place
2002
Liam Gillick, The Wood Way
2002
Liam Gillick, Renovation Filter
2001
Liam Gillick, Erasmus is Late
2000
Liam Gillick, five or six
2000
Liam Gillick, Oktagon
2000
Liam Gillick co-curating Come una falena alla fiamma
OGR Torino, Turin, Italy
4 November 2017 – 14 January 2018
Come una falena alla fiamma / Like a Moth to a Flame. Curated by Tom Eccles, Mark Rappolt and Liam Gillick.
Liam Gillick in FLATLAND
Mudam Luxembourg
7 October 2017 - 15 April 2018
Exhibition with Laëtitia Badaut Haussmann, Francis Baudevin, Philippe Decrauzat, Marie-Michelle Deschamps, Angela Detanico / Rafael Lain, Hoël Duret, Sylvie Fanchon, Liam Gillick, Mark Hagen, Christian Hidaka, Sonia Kacem, Tarik Kiswanson, Vera Kox, Sarah Morris, Reinhard Mucha, Damián Navarro, Camila Oliveira Fairclough, Bruno Peinado, Julien Prévieux, Eva Taulois, John Tremblay, Pierre Vadi, Elsa Werth, Raphaël Zarka.
Liam Gillick & Paul Seawright in A Green and Pleasant Land
Towner Art Gallery, Eastbourne, UK
30 September 2017 – 21 January 2018
Group exhibition with Keith Arnatt, Gerry Badger, Craig Barker, John Blakemore, Henry Bond and Liam Gillick, Paul Caponigro, Thomas Joshua Cooper, John Davies, Susan Derges, Mark Edwards, Anna Fox, Melanie Friend, Hamish Fulton, Fay Godwin, Andy Goldsworthy, Paul Graham, Mishka Henner, Paul Hill, Robert Judges, Angela Kelly, Chris Killip, John Kippin, Karen Knorr, Ian Macdonald, Ron McCormick, Mary McIntyre, Peter Mitchell, Raymond Moore, John Myers, Martin Parr, Mike Perry, Ingrid Pollard, Mark Power, Paul Reas, Emily Richardson, Ben Rivers, Simon Roberts, Paul Seawright, Andy Sewell, Theo Simpson, Graham Smith, Jem Southam, Jo Spence, John Stezaker, Paddy Summerfield, The Caravan Gallery, Chris Wainwright, Patrick Ward, Clare Woods and Donovan Wylie.
Park, Guangzhou & Hong Kong
Co-organised with Holly's Gallery
Park is an exhibition across two venues in Guangzhou and Hong Kong.
Holly's Gallery, Guangzhou, 15 March – 16 April
G/F, 218 Hollywood Road, Sheung Wan, 20–25 March
Artists: Liam Gillick, Callum Innes, Merlin James, Liu Ke, Isabel Nolan, Sean Scully, Liliane Tomasko, Zhou Li
Liam Gillick, What's What in a Mirror
Dublin City Gallery The Hugh Lane, Dublin
28 April – 25 September 2016
As part of the Hugh Lane's 2016 Exhibition Programme, 'The Artist as Witness', Liam Gillick will present a solo exhibition of site-specific new work.
Artist Talk: the artist will also discuss and reflect on the exhibtion at 5.30pm, Thursday 28th April. No need to book, but places are limited, so please arrive early.
Liam Gillick, And Then...
EVA International, Limerick
14 April – 14 July 2016
Part of EVA International 2016, And Then... is a spoken word film festival by Liam Gillick. The event will run nightly from 7pm in Mother Macs pub, High Street, Limerick over the opening weekend (14 – 17 April), and every Thursday from 7pm thereafter.
Liam Gillick, Campaign
Fundação de Serralves, Porto
28 January 2016 – 3 January 2017
Solo exhibition
This first exhibition in Portugal of Liam Gillick (1964, Aylesbury, UK) takes the form of an evolving presentation over one year that reflects Gillick’s long-standing engagement with questions of process, participation, collectivity and decision-making, and of which his varied approach to language and the language of space is an expression.
Liam Gillick, Istanbul Biennale
5 September – 1 November 2015
Biennale
Liam Gillick will participate in the 14th Istanbul Biennale with Hydrodynamica Applied, a new site-specific piece on the side of the Istanbul Modern building.
Liam Gillick, All-Imitate-Act
Stedelijk Museum, Amsterdam, The Netherlands
30 May – 23 June 2015
Solo exhibition
From May 30, All-Imitate-Act, a new installation by the British artist Liam Gillick will be on view on the Museumplein, right in front of the Stedelijk.
Liam Gillick
From 199C to 199D
6 June - 7 September 2014
MAGASIN - Centre National d'Art Contemporain de Grenoble
MAGASIN - Centre National d'Art Contemporain de Grenoble presents an exhibition by artist Liam Gillick. 199C to 199D is the second part of a collaborative process that began with the artist working alongside students of the Center for Curatorial Studies at Bard College (New York) in 2012.
Liam Gillick
Bampton Lecture Series
26 February 2013 - 07 March 2013
Columbia University, New York, Miller Theatre (2960 Broadway at 116th St)
In Collaboration | Bampton Lecture Series
Liam Gillick: Creative Disruptions in the Age of Soft Revolutions
Selected as the 38th Bampton Series speaker, artist and Visual Arts faculty Liam Gillick presents a series of four lectures examining a particular genealogy of the modern period that offers a revised understanding of the origins of contemporary art and its analysis. The series is co-presented by the Institute for Religion, Culture and Public Life.
Liam Gillick
The Journal of the Association of Art Historians
Article first published online: 10 December 2012
Art History Volume 36, Issue 1, pages 180–205, February 2013
Bill Roberts’ “Burnout: Liam Gillick’s Post-Fordist Aesthetics” in the Journal of the Association of Art Historians
Liam Gillick
Interviewed by Tom Eccles
November 2012
ArtReview
Liam Gillick interviewed by Tom Eccles in November’s issue of ArtReview
Liam Gillick
Inhabited Architecture
19 September 2012 - 19 May 2013
Guggenheim Museum Bilbao, Spain
The show features six works from the Guggenheim Bilbao Collection, the majority of which have never been exhibited before, including Liam Gillick's How are you going to behave? A kitchen cat speaks (2009) curated by Lucía Agirre
Liam Gillick
199A TO 199B
23 June 2012 - 21 December 2012
Hessel Museum of Art, Bard College, New York
Liam Gillick: From 199A-199B is one of the featured exhibitions of CCS Bard's 20th anniversary year and offers a comprehensive survey of the artist’s seminal projects and installations which challenged the orthodox presentation and reception of art and its methods and practices during the 1990s.
The Guardian
New Order + Liam Gillick: So It Goes review – a suitably theatrical Manchester return
2 July 2017
Hence this first of five Manchester international festival keynote shows, also called So It Goes – which have the rather arty, very Factory Records subtitle ∑(No,12k,Lg,17Mif) and pair the band with a 12-piece synthesiser orchestra from the Royal Northern College Of Music and a “responsive” stage set designed by visual artist Liam Gillick.
Visit WebsiteArtforum
Liam Gillick, Dublin City Gallery The Hugh Lane
October 2016
[…]
Eight sets of specially designed, differently coloured, lacquered wooden desks and stools, each featuring a circular mirror positioned as if on a dressing table, were inserted into galleries and other ancillary spaces. As quasi-domestic fixtures inside this venerable public building, they offered new locations for momentary reflection (in both senses): at the tops of staircases, in quiet corners, and within an existing collection display. Gillick's intervention was commendably restrained, concerned above all with low-key self-questioning – even as it hinted that historical celebrations can become situations of excessive national self-absorption. But as pieces of original design, his furniture also aimed to expand the frame for retrospection, alluding in their simple, elegant form to those European avant-garde styles he has long valued. They shifted our attention from national to international contexts: from our house to Bauhaus.
[…]
- Declan Long
Aesthetica
Liam Gillick: For the doors that are welded shut, Kerlin Gallery
29 July 2013
Gillick’s third appearance at Kerlin Gallery, Dublin, sees two new works taking over the space – Complete Bin Development which consists of six structures made of aluminium and Plexiglass, is complemented by A Short Song, a two-part, wall text in powder coated aluminium. Running until 14 September, the first work follows on from research into the possible permutations conceivable within the production of car bodies prior to the emergence of entirely automated production systems. Although the sequence of towered formations are subject to the laws of engineering, the pieces can be seen as inherently abstract and flexible in terms of location and structure.
Visit WebsiteThe Journal of the Association of Art Historians
Burn Out: Liam Gillick's Post-Fordist Aesthetics
10 December 2012
A broadened perspective on Gillick must, then, look beyond the sculpture, not only to the texts, but towards the performative dimension of his artistic labour in toto, and specifically towards the dynamics of relay, deferral, dislocation and proliferation...
- Bill Roberts
Download PDF Visit WebsiteThe Brooklyn Rail
Art In Conversation (with William Corwin)
May 2012
William Corwin sat down with Liam Gillick to discuss a recipe for creating public art that is neither grandiose, kitschy, nor dismissive of the public; the responsibilities of the contemporary curator; and the joys of lying face down on the floor. Gillick currently has an exhibition at Casey Kaplan (Scorpion and und et Felix, May 2 – June 23) and will have a survey at Hessel Museum of Art at Bard College’s Center for Curatorial Studies this summer (June 23 – December 21) titled From 199A to 199B.
This interview originally appeared in a different form on Art International Radio.
Download PDF Visit WebsiteArt Review
Other People and Their Ideas
November 2012
TOM ECCLES: You’ve just completed two major projects, From 199A to 199B: Liam Gillick (a survey of your works from the 1990s) at Bard’s Hessel Museum and To the Moon via the Beach (a large-scale curatorial project with Philippe Parreno and others in the Roman amphitheatre) in Arles. Both share similar artistic strategies of creating a framework of a platform in which collaborative actions can take place. The project in Arles also involved many of the artists with home you’ve worked and been associated with since the 1990s. Besides scale, what do you consider as significant changes since that time?
LIAM GILLICK: There are changes that are explicit and others that are implicit. The explicit ones are connected to the shifting economics and structural components of the art context. One aspect that is somewhat overlooked is a rise in instrumentalisation of advanced art where public or foundation funding is involved – that biases towards ‘good works’ that may appear to be responsive or open to ‘the public’. Of course, from the beginning we were all very aware of the difference between a public and an audience. There is an audience for anything, but dealing with a layered, multiple and complex public is another question altogether. This issue of instrumentalisation is much more problematic to deal with than simple pseudoethical anxieties about markets – which are easy to identify and deconstruct…
Interview by Tom Eccles