Liam Gillick lives and works in New York. Selected solo exhibitions include: Standing on Top of a Building: Films 2008-2019, Madre Museum, Naples, Italy (2019); The Lights are No Brighter at the Centre, CAC, Vilnius, Lithuania (2017); Campaign, Serralves Museum of Contemporary Art, Porto, Portugal (2016); All-Imitate-Act, Stedelijk Museum/Holland Festival, Amsterdam (2015); From 199C to 199D, Le Magasin, Grenoble, France (2014); From 199A to 199B: Liam Gillick, Hessel Museum of Art, Bard College, Annandale-on-Hudson, New York, USA (2012); Museum Stzuki, Lodz, Poland (2011); One long walk... Two short piers..., KAH, Bonn, Germany (2010); How will you behave: A kitchen cat speaks, German Pavilion, 53rd Venice Biennale, Venice, Italy (2009); Three Perspectives and a Short Scenario, Witte de With, Rotterdam, The Netherlands / Kunsthalle Zürich, Zürich, Switzerland / Kunstverein Munich and MCA Chicago (2008); A short text on the possibility of creating an economy of equivalence, Palais de Tokyo, Paris, France (2005); The Wood Way, Whitechapel Gallery, London, UK (2002).Read More
Collaborative projects include Gelatin and Liam Gillick, Stinking Dawn, Kunsthalle Wien (2019); ∑(No,12k,Lg,17Mif) New Order + Liam Gillick: So it goes.., Manchester International Festival / OGR, Torino / Halle E, Vienna (2017-2018); Development, Okayama Art Summit, Okayama (2016); Confessions of the Imperfect, 1848-1989-Today, Van Abbemuseum, Eindhoven (2014); To the Moon Via the Beach (with Philippe Parreno), Luma Foundation, Arles (2012); Liam Gillick and Lawrence Weiner: A Syntax of Dependency, M HKA Museum van Hedendaage Kunst Antwerpen, Antwerp, Belgium (2011).
Selected group exhibitions include: BAU [SPIEL] HAUS, Neues Museum, Nuremberg, Germany (2019); The Log-O-Rithmic Slide Rule: Trix and Robert Haussmann, KW Institute for Contemporary Art, Berlin, Germany, Nottingham Contemporary, Nottingham, UK and ETH, Zurich, Austria (2018); True Faith, curated by Matthew Higgs, Manchester City Art Gallery, Manchester, England (2017); 2116, Shanghai Project 2016, curated by Yongwoo Lee and Hans Ulrich Obrist, Shanghai Himalayas Museum, China (2016); 14th Istanbul Biennial, Istanbul, Turkey (2015); Adventures of the Black Square: Abstract art and society 1915-2015, Whitechapel Gallery, London, UK (2015); Swiss Pavilion, 14th Architecture Biennale, Venice, Italy (2014); DLA Piper Series: Constellations, Tate Liverpool, UK (2013); Looking Back for the Future, Kunsthalle Zürich, Zürich, Switzerland (2012).
Text courtesy Maureen Paley.
After moving to London from her native East Coast of the United States, Maureen Paley opened her first gallery in the front room of her Victorian terraced house in 1984. She gave many international artists, including Mike Kelley, Charles Ray, and Christian Marclay their first exhibitions in London, quickly becoming a leading light for the...
There has been a flurry of triennial and biennial art activity in Japan this year. This report explores some of these shows, concluding with Pierre Huyghe's Okayama Art Summit.
In early 2013, Liam Gillick gave a series of four lectures at Columbia University entitled Creative Disruption in the Age of Soft Revolutions, part of the school’s Bampton in America series. These lectures and other writings, released in different publications in the last seven years (including several essays originally published in the...
It’s a sunny autumn day in the small Japanese city of Okayama, and two British men born in the 1960s are conversing about cameras. Liam Gillick and I both own the retro-looking Fujifilm X-Pro1, which we’ve chosen for its impressive price-to-performance ratio. “I’ve used it a lot in my work,” a ruddy-faced, relaxed, and...
In a lecture he gave in Vancouver in 2009, Liam Gillick suggested that his career as an artist was catalyzed by an inability to trust his own activity in the field of politics – his first career choice. In this light, his ongoing deferral to a strange lexicon of ciphers and fictions seems appropriate.
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