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b. 1964, United Kingdom

Liam Gillick Biography

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, filmmaking, writing and 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 commitment to ‘dematerialised’ modes of practice–his many texts and talks are understood as integral elements of his art.

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Crucially, however, Gillick’s references are always situated in relation to other vital coordinates for understanding the place of art within contemporary culture. Questions of economy, labour and social organisation are ongoing preoccupations. His precisely calibrated use of Plexiglas and aluminium might recall minimalism’s ‘specific objects’, but these materials are also employed on the basis of other associations–for instance, as 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.

Recent solo exhibitions include: Standing on Top of a Building: Films 2008-2019, Madre Museum, Naples, (2019); Gelation & Liam Gillick, Stinking Dawn, Kunsthalle Wien Museums quartier, Vienna, (2019); Fly Me To The Moon, Kunsthaus Zürich, Zürich, (2019); BAU [SPEIL] HAUS, Neues museum, State Museum for Art and Design in Nuremberg; & Nürnberg, Germany, (2019); ART=CLIMATE=CHANGE 2019 festival, Potter Museum, Melbourne, (2019); A Depicted Horse is not a Critique of a Horse, Kerlin Gallery, Dublin, (2018); The Light Is No Brighter at the Centre, Contemporary Art Centre, Vilnius (2017); Were People This Dumb Before TV?, Contemporary Art Centre, Vilnius (2017–2018); Fundação de Serralves, Porto (2016–2017); Dublin City Gallery The Hugh Lane, (2016); Stedelijk Museum, Amsterdam (2015); MAGASIN, Grenoble, (2014); The Contemporary Austin, TX, (2013–2014); 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).

Text courtesy Kerlin Gallery.

Exhibition view: LUMA Arles, 2021 opening exhibitions with the Parkett Archive. Courtesy Parkett. 

Liam Gillick Featured Artworks

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Screened Development by Liam Gillick contemporary artwork
Liam GillickScreened Development, 2014Powder-coated aluminium, acrylic glass
100 x 75 x 20 cm
Esther Schipper Contact Gallery
Association Channelled by Liam Gillick contemporary artwork
Liam GillickAssociation Channelled, 2020Powder coated aluminium
16 x 90 x 8 cm
Taro Nasu Contact Gallery
Integrated Fins by Liam Gillick contemporary artwork
Liam GillickIntegrated Fins, 2020powder coated aluminium
270 x 406 x 10 cm
Gallery Baton Contact Gallery
Transferred Projection by Liam Gillick contemporary artwork
Liam GillickTransferred Projection, 2009Powder-coated aluminium
200 x 3 x 15 cm
MEYER KAINER Contact Gallery
Everything Good Goes by Liam Gillick contemporary artwork
Liam GillickEverything Good Goes, 2008Red digital video converted to H.264
Maureen Paley
Margin Time 3 by Liam Gillick contemporary artwork
Liam GillickMargin Time 3, 2018HD video H.264
Maureen Paley
Diversity Channelled by Liam Gillick contemporary artwork
Liam GillickDiversity Channelled, 2018Powder-coated aluminium
32 x 90 x 8 cm
Kerlin Gallery Contact Gallery

Liam Gillick Current & Recent Exhibitions

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Liam Gillick Represented By

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Liam Gillick In Ocula Magazine

Liam Gillick In Related Press

Pedagogy on the loose: A book of lectures by Liam Gillick Related Press Pedagogy on the loose: A book of lectures by Liam Gillick 23 November 2016, artcritical

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...

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Review: Okayama Art Summit 2016 - 'Development' Related Press Review: Okayama Art Summit 2016 - 'Development' 18 October 2016, Art Agenda

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...

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Interview with Philippe Parreno and Liam Gillick Related Press Interview with Philippe Parreno and Liam Gillick 14 October 2016, Frieze Magazine

The long-term collaborators discuss the London Underground and Parreno's commission for Tate Modern's Turbine Hall Liam Gillick:  We first met in Nice in 1990, didn’t we? I came to look at an exhibition at Air de Paris titled Les Ateliers du paradise. The invitation was intriguing: it was like a credit card, so I asked...

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Reviews / Liam Gillick Related Press Reviews / Liam Gillick 1 October 2010, Frieze

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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