'A Picture of War is Not War', we read in Hito Steyerl's iconic film November (2004), an essayistic Super 8 film tackling the definition of terrorism constructed around the figure of the artist's best friend Andrea Wolf, who was killed as a terrorist in 1998 in Eastern Anatolia after she joined the PKK (Kurdistan Workers' Party). Mixing documentary...
There has been a flurry of triennial and biennial art activity in Japan this year. The Aichi Triennale opened in Nagoya this August, sparking a national debate about the shutting down of a display of formerly censored works—the result of public backlash against a burnt image of Emperor Hirohito and a statue commemorating the women forced into...
Hans Hartung and Art Informel at Mazzoleni London (1 October 2019-18 January 2020) presents key works by the French-German painter while highlighting his connection with artists active in Paris during the 50s and 60s. In this video, writer and historian Alan Montgomery discusses Hartung's practice and its legacy.Born in Leipzig in 1904, Hans...
Maureen Paley is pleased to present the fourth solo exhibition at the gallery by Liam Gillick.
The Night of Red and Gold is a fictional nightclub event described by French philosopher Gilles Châtelet in his complex and passionate book To Live and Think Like Pigs: The Incitement of Envy and Boredom in Market Economies (1998). In the first chapter we are taken to Le Palace in Paris on a night in 1979 where a new constellation of social relationships is falling into place.
'...a festive equilibrium, the cordial boudoir of the 'tertiary service society"'which would very quickly become the society of boredom, of the spirit of imitation, of cowardice, and above all of the petty game of reciprocal envy—'first one to wake envies the others'. — Gilles Châtelet1
For this exhibition a series of new abstract forms are presented alongside various films made by Gillick since 2008. The works are archetypes of the various structures that have appeared in his work over the last few years, precisely engineered abstractions that are all silver anodised and wall based. The titles of the works, from Festive Self Regulation (2019) to Resentment Industry (2019), pay a tribute to Châtelet's insights and his prescience.
The main focus of the films and the structural works is cultural production and workplace aesthetics under the conditions mocked and raged against in Châtelet's book.
Since the mid-90s Gillick has consistently deployed forms that offer a critical reflection upon the aesthetic underpinnings of our tertiary economies. These have been combined with writing, graphics and films that explicitly outline his interests. The films also question the position of the artist in relation to this aproductive context. This exhibition is focused and precise. There are no lights, music or dancing. Instead we are invited to reflect upon the smooth surfaces of the contemporary interface and the circling narratives that evoke conditions of production rather than consumption. The Cyber-Wolves and Gardeners of the Creative of Châtelet's book have long moved on from the nightclub where they first met. Everything has been cleared away and the lights are bright white. We are left with a space where everything is infrastructure.
To celebrate the launch of Liam Gillick's latest monograph Half a Complex (Hatje Cantz Verlag, 2019) copies will be available for sale at the opening and throughout the duration of the exhibition.
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).
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).
1 - To Live and Think Like Pigs: The Incitement of Envy and Boredom in Market Economies~~, translated by Robin Mackay, Urbanomic/Sequence Press (2014)
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