Liam Gillick

A Depicted Horse is not a Critique of a Horse

23 November 2018 – 19 January 2019

Liam Gillick, Teamwork on the production line..., 2018, matte black vinyl on wall, 300 x 250 cm / 118.1 x 98.4 in   

Liam Gillick, Consumption Channelled, 2018, powder-coated aluminium, 32 x 45 x 8 cm / 12.6 x 17.7 x 3.1 in 

Additional Views

Liam Gillick, A Depicted Horse is not a Critique of a Horse, Kerlin Gallery, Dublin, 23 November 2018 – 19 January 2019

Liam Gillick, A depicted horse is not a critique of a horse..., 2018, matte black vinyl on wall, 300 x 250 cm / 118.1 x 98.4 in   

Liam Gillick, Restriction Channelled, 2018, powder-coated aluminium, 8 x 90 x 8 cm / 3.1 x 35.4 x 3.1 in

Additional Views

Liam Gillick, A Depicted Horse is not a Critique of a Horse, Kerlin Gallery, Dublin, 23 November 2018 – 19 January 2019

Liam Gillick, First fully automated production line..., 2018, matte black vinyl on wall, 300 x 210 cm / 118.1 x 82.7 in  

Liam Gillick, Expansion Channelled, 2018, powder-coated aluminium, 16 x 45 x 8 cm / 6.3 x 17.7 x 3.1 in 

Additional Views

Liam Gillick, A Depicted Horse is not a Critique of a Horse, Kerlin Gallery, Dublin, 23 November 2018 – 19 January 2019

Liam Gillick, Return on capital employed..., 2018, matte black vinyl on wall, 300 x 210 cm / 118.1 x 82.7 in 

Liam Gillick, Liability Channelled, 2018, powder-coated aluminium, 32 x 90 x 8 cm / 12.6 x 35.4 x 3.1 in

Additional Views

Liam Gillick, A Depicted Horse is not a Critique of a Horse, Kerlin Gallery, Dublin, 23 November 2018 – 19 January 2019

Liam Gillick, Neo-classical economics..., 2018, matte black vinyl on wall, 300 x 230 cm / 118.1 x 90.6 in   

Liam Gillick, Refusal Channelled, 2018, powder-coated aluminium, 16 x 90 x 8 cm / 6.3 x 35.4 x 3.1 in

Additional Views

Liam Gillick, Means of consumption..., 2018, matte black vinyl on wall, 300 x 170 cm / 118.1 x 66.9 in

Liam Gillick, A Depicted Horse is not a Critique of a Horse, Kerlin Gallery, Dublin, 23 November 2018 – 19 January 2019

Liam Gillick, Critical tiles..., 2018, matte black vinyl on wall, 300 x 300 cm / 118.1 x 118.1 in  

Liam Gillick, Contagion Channelled, 2018, powder-coated aluminium, 16 x 180 x 8 cm / 6.3 x 70.9 x 3.1 in 

Additional Views

Liam Gillick, What is a mirror for?, 2018, matte black vinyl on wall, 300 x 740 cm / 118.1 x 291.3 in   

Liam Gillick, A Depicted Horse is not a Critique of a Horse, Kerlin Gallery, Dublin, 23 November 2018 – 19 January 2019

Liam Gillick, A Depicted Horse is not a Critique of a Horse, Kerlin Gallery, Dublin, 23 November 2018 – 19 January 2019

Liam Gillick, A Depicted Horse is not a Critique of a Horse, Kerlin Gallery, Dublin, 23 November 2018 – 19 January 2019

Liam Gillick, A Depicted Horse is not a Critique of a Horse, Kerlin Gallery, Dublin, 23 November 2018 – 19 January 2019

Liam Gillick, A Depicted Horse is not a Critique of a Horse, Kerlin Gallery, Dublin, 23 November 2018 – 19 January 2019

Liam Gillick, A Depicted Horse is not a Critique of a Horse, Kerlin Gallery, Dublin, 23 November 2018 – 19 January 2019

Liam Gillick, A Depicted Horse is not a Critique of a Horse, Kerlin Gallery, Dublin, 23 November 2018 – 19 January 2019

Liam Gillick, A Depicted Horse is not a Critique of a Horse, Kerlin Gallery, Dublin, 23 November 2018 – 19 January 2019

Liam Gillick, A Depicted Horse is not a Critique of a Horse, Kerlin Gallery, Dublin, 23 November 2018 – 19 January 2019

Liam Gillick, A Depicted Horse is not a Critique of a Horse, Kerlin Gallery, Dublin, 23 November 2018 – 19 January 2019

Liam Gillick, A Depicted Horse is not a Critique of a Horse, Kerlin Gallery, Dublin, 23 November 2018 – 19 January 2019

Kerlin Gallery is pleased to announce A Depicted Horse is not a Critique of a Horse, a solo exhibition of new work by Liam Gillick. The exhibition will open with a reception in the company of the artist on Thursday 22 November, 6–8pm.

 

This exhibition brings together a series of new abstract wall-based works alongside a sequence of large-scale graphics. The two sets of works stand in confrontation to each other, offering a clear view of the distinct contradictions at the heart of the artist’s practice.

 

Drawn from an extensive archive of prints produced over the last twenty years, the large wall graphics express an interest in production over consumption, each one combining medieval woodcuts with a commentary upon conditions of production – artistic and industrial, cognitive and craft-based. A friar toasts the arrival of the first car to be produced with computer-controlled robots. Saint Sebastian thinks about the “Return on Capital Employed”. And a chivalrous Knight dreams of hard-edged abstraction.

 

In close proximity to each graphic is a “channel work” – a new series of abstract powder-coated aluminium structures that continue the artist’s interest in secondary forms, derived from elements that support or disguise architectural structures. Rooted in processes of renovation, recuperation and endless development, these works are the latest stage in a long-term production of abstraction as a critique of the aesthetics of neo-liberalism.

 

The artist’s interest in the semiotics of the built world operating in tension with a consciousness of the conditions encountered and generated by “the contemporary artist” is emphasised by a wall text encountered on entering the gallery. The text is a short story about the artistic condition, placing the artist in an implicated role in relation to the critic and curator.

 

Three people – a critic, a curator, and an artist – walk into an exhibition. The only thing inside the exhibition is a mirror with a text right next to it:
“This is a magic mirror. If you tell the truth nothing happens. If you lie, you disappear forever....”


For further information, please contact Rosa Abbott, rosa@kerlin.ie.
 

The Irish Times

Art in Focus – Liability Channelled by Liam Gillick

24 November 2018

Gillick draws on a bewildering range of sources and references, but has a consistent underlying interest in cultural production in its widest sense (and how the category of artist, and he, fits into the picture). His Kerlin show juxtaposes a series of abstract aluminium pieces, dubbed “channel works”, together with a set of enlarged medieval woodcuts bearing anachronistic additions in the form of captions and images, commenting on modes of production. A monk in a scriptorium anticipates the production line of the future with the exclamation “Volvo!” Similarly, a winemaker in a cellar holds a cup aloft and thinks “Fiat Strada!” St Sebastian, riddled with arrows and other missiles, muses on “Return on capital employed…” A knight on horseback imagines an abstract geometric composition. Gillick has noted the “play between activity and analysis” in his work, and this lively, conversational play, even charm, reflects his articulate, loquacious personality.

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