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.Read More
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.
The Ocula Advisory team select six highlights from Art021 Shanghai Contemporary Art Fair's 8th edition.
Maureen Paley reflects on the evolution of her gallery, which she opened in the front room of her Victorian terraced house in 1984 after moving to London from her native East Coast of the United States.
There has been a flurry of triennial and biennial activity in Japan, including Pierre Huyghe's Okayama Art Summit.
Frankly though, I couldn't concentrate: a trade fair seemed trivial as social and political progress seemed on the brink of a steep and painful descent.
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...
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...
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.