Liam Gillick

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

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Liam Gillick, 
Denominator Platform 2018,
powder-coated aluminium, plexiglass
200 x 300 x 5 cm / 78.7 x 118.1 x 2 in 
Liam Gillick,
Leeched Screen, 2014,
powder-coated aluminium, Plexiglas, 
304.8 x 213.5 x 31.5 cm / 120 x 84.1 x 12.4 in 
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Liam Gillick, Consumption Channelled, 2018, powder-coated aluminium, 32 x 45 x 8 cm / 12.6 x 17.7 x 3.1 in 

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

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

Liam Gillick, Logies. Graphies., 2018, matte black vinyl on wall, 250 x 205 cm / 98.4 x 80.7 in  

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

Liam Gillick  Distinct Elevation 2017 powder coated aluminium, Plexiglas 200 x 280 x 140 cm / 78.7 x 110.2 x 55.1 in   

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Liam Gillick, Reached Horizon, 2017, powder-coated aluminium, 30 elements, 185 x 400 x 5 cm / 72.8 x 157.5 x 2 in 

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Liam Gillick AC/DC Joy Division House, 
Absent Model Of A Social Centre For Teenagers For Milan 1993 (Porto), 2016 
Acrylic and text, Disklavier piano with sound, artificial red snow 
Installation view of Campaign exhibition (part III – 26 May until 25 September 2016) at Museu de Arte Contemporânea de Serralves, 2016 
Photo: Filipe Braga, © Fundação de Serralves, Porto
Liam Gillick 
Post Discussion Development Platform 2014
powder coated aluminium, plexiglas
240 x 120 x 120 cm / 94.5 x 47.2 x 47.2 in 

Liam Gillick Neural Mechanisms  2016 birch plywood, two pack lacquer - RAL5022, mirror 200 x 102.5 x 30 cm / 78.7 x 40.4 x 11.8 in 

Liam Gillick riggedattraction 2014 powder coated aluminium 50 elements 180 x 640 x 10 cm / 70.9 x 252 x 3.9 total size

Liam Gillick
Complete Bin Development
powder coated aluminium, Plexiglas
6 elements, each element 300 x 150 x 150 cm / 118.1 x 59.1 x 59.1 in 

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Progression Stream
Devised Production Structure
(The doors to the administration building have been left open) 2012
Three elements
Element 1: powder-coated aluminium, Plexiglas, 200 x 250 x 240 cm
Element 2: powder-coated aluminium, 200 x 250 x 240 cm
Element 3: Vinyl text cut from Adobe Illustrator™ EPS file, Dimensions variable

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Lesser Reduction
powder coated aluminium
16 elements
each element 180 x 3 x 15 cm / 70.9 x 1.2 x 5.9
over all size 180 x 198 cm / 70.9 x 78 in  

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A Game of War Structure
anodized and powder-coated aluminium
edition of 4
106.5 x 125 x 155 cm / 41.9 x 49.2 x 61 in

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McNamara Motel
white neon
Unique with 1 AP
350 x 37 cm / 137.8 x 14.6 in approx  

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Stacked Revision Structure
powder-coated aluminium
360 x 360 x 360 cm
Collection Albright-Knox Art Gallery, Buffalo. NY

Lying on Top of a Building...
The Clouds Looked no Nearer than when I Was Lying on the Street...

stainless steel
Fairmont, Pacific-Rim, Vancouver

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Dynamica Building (with Rodrigo Gomez Villaseñor)
various materials
Gebäude building in Guadalajara, Mexico

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Negotiated Collapse
powder coated aluminium, transparent Plexiglas, Unique
wall mounted screen structure
230 x 50 x 20 cm / 90.6 x 19.7 x 7.9 in 

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24/7 Kiosk
painted steel
400 x 400 x 400 cm
installation view, Zeebrugge, Belgium

Grouped Decided
painted aluminium, opaque Plexiglas
150 x 300 x 30 cm
59.1 x 118.1 x 11.8 in

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Expansion in the snow
powder coated aluminium, plexiglas, Unique
two elements each:
50 x 200 x 10cm / 19.7 x 78.7 x 3.9 

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anodised-aluminium, Plexiglas
each element 50x120x10cm

Red snow


powder coated aluminium, plexiglas, Unique

two elements each: 50 x 75 x 10 cm / 19.7 x 29.5 x 3.9 in 

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all hawaii eNtrees / luNar reGGae
installation view, Irish Museum of Modern Art

Projected Replapse


painted aluminium
20 elements
200 x 15 x 3 cm each
overall size, 200 x 136 x 15 cm

Home Office London
Building in Marsham Street, London
Government Art Collection, London

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Four Levels of Exchange
powder-coated aluminium
4 elements, each 50 x 460 cm (diameter)
LAC - Lufthansa Aviation Centre, Frankfurt am Main

56th Floor Structure
powder-coated aluminium
240 x 240 x 240 cm
installation view:
Singular Forms, Solomon R. Guggenheim Museum, New York, 2004

Liam Gillick
A Depicted Horse is not a Critique of a Horse
Kerlin Gallery
23 November 2018 – 19 January 2019
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Liam Gillick, Denominator Platform, installed at Goethe-Institut Irland, Dublin, 2018

Liam Gillick, The Light is no Brighter at the Centre, Contemporary Art Centre (CAC), Vilnius, Lithuania, 17 November 2017 – 14 January 2018

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Deichtorhallen, Hamburg
Fotos © : Henning Rogge / Deichtorhallen Hamburg
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A Game of War (Terrain), 2016 
Painted wood and text
Installation view of Campaign exhibition (part III – 26 May until 25 September 2016) at Museu de Arte Contemporânea de Serralves, 2016 
Photo: Filipe Braga, © Fundação de Serralves, Porto
Liam Gillick
What’s What in a Mirror
Dublin City Gallery The Hugh Lane
28 April 2016 - 25 September 2016
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Liam Gillick
From 199C to 199D
Le MAGASIN, Centre National d'Art Contemporain de Grenoble

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For the doors that are welded shut 
Installation view
Kerlin Gallery
27 July – 14 September 2013

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From 199A to 199B
Hessel Museum of Art, Bard College

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Two Short Plays
Eastside Projects, Birmingham

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How are you going to behave? A kitchen cat speaks 2009, wood, lamps, stuffed cat, text, door blinds, MP3 player, dimensions variable

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Executive Two Litre GXL
MAK, Vienna

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Three Perspectives and a Short Scenario
Museum of Contemporary Art, Chicago

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Wall Diagrams From The Early 1990s and 2000s
House of Art, Czech Republic


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Guggenheim Museum, New York

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Social Sculpture
Whitechapel Gallery, London

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Construcción de Uno (Prequel)
Tate Triennial

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How to improve the World
Hayward Gallery, London

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A short text on the possibility of creating an economy of equivalence


Palais de Tokyo, Paris

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b. 1964, Aylesbury, England


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.
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.    
Selected solo exhibitions include: The Work Life Effect, Gwangju Museum of Art, South Korea (2021); 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 (2017–18); Fundação de Serralves, Porto (2016-17); Dublin City Gallery The Hugh Lane, (2016); Stedelijk Museum, Amsterdam (2015); MAGASIN, Grenoble, (2014); The Contemporary Austin, TX, (2013-14); 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).


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Liam Gillick, The Work Life Effect

Gwangju Museum of Art, South Korea

25 February - 27 June 2021

Liam Gillick presents his first major solo museum exhibition in Asia. The Work Life Effect will take place at Gwangju Museum of Art from 25 February - 27 June 2021.

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Liam Gillick, Kinetic Energy of Rigid Bodies

22 April - 6 June 2021

Kunst-Station Sankt Peter, Cologne

In his large-format wall graphic “Kinetic Energy of Rigid Bodies” for the Sankt Peter Cologne art station, Liam Gillick brings abstract thinking and figurative representation, pain and rationality together.

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Liam Gillick, Mudam Collection

20 June - 6 September 2020

Mudam, The Contemporary Art Museum of Luxembourg

'Hier, Aujourd’hui, Demain' presents works from Mudam’s collection across three floors of the museum.

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Liam Gillick & Gelatin, Stinking Dawn

Kunsthalle Wien

5 July - 6 October

Stinking Dawn is an exhibition in the form of a production process for a full-length feature film by Gelatin and Liam Gillick. The collaboratively developed and improvised experimental film will examine the limits of human tolerance in the face of oppression, political crisis and excessive self-delusion. It follows the destiny of four privileged young people who grow up at a time of crisis and move through various stages of development and self-reflection towards a final moment of collapse.

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Liam Gillick, Standing on Top of a Building: Films 2008-2019

Madre Museum, Naples, Italy

22 June - 14 October 2019

In piedi in cima a un edificio: Film 2008-2019 / Standing on Top of a Building: Films 2008-2019 is the first retrospective dedicated exclusively to the video-film production by Liam Gillick (Aylesbury, UK, 1964), one of the most important international contemporary artists. In his practice, Gillick explores the cultural, political and economic space-time of the late capitalist society, by claiming the importance of the reflection, the awareness and the – still possible – participation of the individual.

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Goethe-Insitut Irland, Return Gallery, Dublin

September 2018 to September 2020

The Goethe-Insitut Irland's Return Gallery is pleased to present COMMON DENOMINATOR, a series of exhibitions and events. The exhibition features Liam Gillick's specially designed platform for the Return Gallery.

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Liam Gillick, The Light is no Brighter at the Centre

Contemporary Art Centre (CAC), Vilnius, Lithuania

17 November 2017 – 14 January 2018

Solo exhibition curated by Neringa Bumblienė.

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Liam Gillick co-curating Come una falena alla fiamma

OGR Torino, Turin, Italy

4 November 2017 – 14 January 2018

Come una falena alla fiamma / Like a Moth to a Flame. Curated by Tom Eccles, Mark Rappolt and Liam Gillick.

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Liam Gillick in Parapolitics

Haus der Kulturen der Welt, Berlin, Germany

3 November 2017 – 8 January 2018

Curated by Anselm Franke, Nida Ghouse, Paz Guevara, and Antonia Majaca. With works by Art & Language, Doug Ashford, Michael Baers, Samuel Beckett, Charles & Ray Eames, Peter Friedl, Liam Gillick, Sheela Gowda, Philip Guston, Irving Norman, Nam June Paik, Sigmar Polke, Steve Reich, Ad Reinhardt, Gerhard Richter, Faith Ringgold, Norman Rockwell, Frank Stella, The Otolith Group and others.

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Liam Gillick in FLATLAND

Mudam Luxembourg

7 October 2017 - 15 April 2018

Exhibition with Laëtitia Badaut Haussmann, Francis Baudevin, Philippe Decrauzat, Marie-Michelle Deschamps, Angela Detanico / Rafael Lain, Hoël Duret, Sylvie Fanchon, Liam Gillick, Mark Hagen, Christian Hidaka, Sonia Kacem, Tarik Kiswanson, Vera Kox, Sarah Morris, Reinhard Mucha, Damián Navarro, Camila Oliveira Fairclough, Bruno Peinado, Julien Prévieux, Eva Taulois, John Tremblay, Pierre Vadi, Elsa Werth, Raphaël Zarka.

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Liam Gillick & Paul Seawright in A Green and Pleasant Land

Towner Art Gallery, Eastbourne, UK

30 September 2017 – 21 January 2018

Group exhibition with Keith Arnatt, Gerry Badger, Craig Barker, John Blakemore, Henry Bond and Liam Gillick, Paul Caponigro, Thomas Joshua Cooper, John Davies, Susan Derges, Mark Edwards, Anna Fox, Melanie Friend, Hamish Fulton, Fay Godwin, Andy Goldsworthy, Paul Graham, Mishka Henner, Paul Hill, Robert Judges, Angela Kelly, Chris Killip, John Kippin, Karen Knorr, Ian Macdonald, Ron McCormick, Mary McIntyre, Peter Mitchell, Raymond Moore, John Myers, Martin Parr, Mike Perry, Ingrid Pollard, Mark Power, Paul Reas, Emily Richardson, Ben Rivers, Simon Roberts, Paul Seawright, Andy Sewell, Theo Simpson, Graham Smith, Jem Southam, Jo Spence, John Stezaker, Paddy Summerfield, The Caravan Gallery, Chris Wainwright, Patrick Ward, Clare Woods and Donovan Wylie.

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Park, Guangzhou & Hong Kong

Co-organised with Holly's Gallery

Park is an exhibition across two venues in Guangzhou and Hong Kong.

Artists: Liam Gillick, Callum Innes, Merlin James, Liu Ke, Isabel Nolan, Sean Scully, Liliane Tomasko, Zhou Li

Liam Gillick to direct Okayama Art Summit

9 October – 27 November 2016

Liam Gillick is the artistic director of the first Okayama Art Summit, which will be held in Okayama, Japan. The title for the event is “Development.” 

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Liam Gillick, Yinchuan Biennale

9 September – 18 December 2016

As part of the inaugural Yinchuan Biennale, Liam Gillick will present two large-scale wall diagrams: one abstract, the other an algorithm.

Liam Gillick in Béton

Kunsthalle Wien, Vienna

25 June – 16 October 2016

Work by Liam Gillick will be included in Béton, a group exhibition at Kunsthalle Wien exploring the artstic and architectural legacy of concrete.

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Liam Gillick, What's What in a Mirror

Dublin City Gallery The Hugh Lane, Dublin

28 April – 25 September 2016

As part of the Hugh Lane's 2016 Exhibition Programme, 'The Artist as Witness', Liam Gillick will present a solo exhibition of site-specific new work.


Artist Talk: the artist will also discuss and reflect on the exhibtion at 5.30pm, Thursday 28th April. No need to book, but places are limited, so please arrive early.

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Liam Gillick, And Then...

EVA International, Limerick

14 April – 14 July 2016

Part of EVA International 2016, And Then... is a spoken word film festival by Liam Gillick. The event will run nightly from 7pm in Mother Macs pub, High Street, Limerick over the opening weekend (14 – 17 April), and every Thursday from 7pm thereafter.

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Liam Gillick, Campaign

Fundação de Serralves, Porto

28 January 2016 – 3 January 2017

Solo exhibition

This first exhibition in Portugal of Liam Gillick (1964, Aylesbury, UK) takes the form of an evolving presentation over one year that reflects Gillick’s long-standing engagement with questions of process, participation, collectivity and decision-making, and of which his varied approach to language and the language of space is an expression.

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Liam Gillick, Istanbul Biennale

5 September – 1 November 2015


Liam Gillick will participate in the 14th Istanbul Biennale with Hydrodynamica Applied, a new site-specific piece on the side of the Istanbul Modern building.

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Liam Gillick, All-Imitate-Act

Stedelijk Museum, Amsterdam, The Netherlands

30 May – 23 June 2015

Solo exhibition

From May 30, All-Imitate-Act, a new installation by the British artist Liam Gillick will be on view on the Museumplein, right in front of the Stedelijk.

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Liam Gillick, From 199C to 199D

MAGASIN - Centre National d'Art Contemporain de Grenoble

6 June - 7 September 2014

MAGASIN - Centre National d'Art Contemporain de Grenoble presents an exhibition by artist Liam Gillick. 199C to 199D is the second part of a collaborative process that began with the artist working alongside students of the Center for Curatorial Studies at Bard College (New York) in 2012. 

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Liam Gillick

9 Artists

24 October 2013 - 16 February 2014

Walker Art Center

Walker Art Center presents 9 Artists, an international, multigenerational group exhibition featuring Yael Bartana, Liam Gillick, Natascha Sadr Haghighian, Renzo Martens, Bjarne Melgaard, Nástio Mosquito, Hito Steyerl, and Danh Vo.

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Liam Gillick

The Contemporary Austin, Texas

21 September 2013 - 5 January 2014

Liam Gillick's solo exhibition at The Contemporary Austin will open 21 September. The exhibition consists of a multicolored, powder-coated steel platform structure installed below the villa at the border of the waterfront on Laguna Gloria's grounds (the museum's twelve acre site of semi-wild landscape), and a film taken by the artist on his visits to the grounds. The film will be exhibited at the Jones Center.

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Liam Gillick, From Fredensborg to Halen via Loch Ruthven - Courtyard Housing Projections

H-I-C-A, Inverness-shire, Scotland

1 September - 6 October 2013

From Fredensborg to Halen via Loch Ruthven - Courtyard Housing Projections, Liam Gillick's ongoing residency project with the Highland Institute for Contemporary Art, will open to the public on Sunday 1 September, 2 - 5 pm, and continue as a developing exhibition until 6 October.

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Liam Gillick, Bampton Lecture Series

Columbia University, New York, Miller Theatre (2960 Broadway at 116th St)

26 February 2013 - 07 March 2013

In Collaboration | Bampton Lecture Series

Liam Gillick: Creative Disruptions in the Age of Soft Revolutions


Selected as the 38th Bampton Series speaker, artist and Visual Arts faculty Liam Gillick presents a series of four lectures examining a particular genealogy of the modern period that offers a revised understanding of the origins of contemporary art and its analysis. The series is co-presented by the Institute for Religion, Culture and Public Life.

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Liam Gillick, The Journal of the Association of Art Historians

Art History Volume 36, Issue 1, pages 180–205, February 2013

Article first published online: 10 December 2012

Bill Roberts’ “Burnout: Liam Gillick’s Post-Fordist Aesthetics” in the Journal of the Association of Art Historians

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Liam Gillick, Interviewed by Tom Eccles


November 2012

Liam Gillick interviewed by Tom Eccles in November’s issue of ArtReview


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Liam Gillick, Inhabited Architecture

Guggenheim Museum Bilbao, Spain

19 September 2012 - 19 May 2013

The show features six works from the Guggenheim Bilbao Collection, the majority of which have never been exhibited before, including Liam Gillick's How are you going to behave? A kitchen cat speaks (2009) curated by Lucía Agirre

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Liam Gillick, 199A TO 199B

Hessel Museum of Art, Bard College, New York

23 June 2012 - 21 December 2012

Liam Gillick: From 199A-199B is one of the featured exhibitions of CCS Bard's 20th anniversary year and offers a comprehensive survey of the artist’s seminal projects and installations which challenged the orthodox presentation and reception of art and its methods and practices during the 1990s.

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The Guardian

New Order + Liam Gillick: So It Goes review – a suitably theatrical Manchester return

2 July 2017

Hence this first of five Manchester international festival keynote shows, also called So It Goes – which have the rather arty, very Factory Records subtitle ∑(No,12k,Lg,17Mif) and pair the band with a 12-piece synthesiser orchestra from the Royal Northern College Of Music and a “responsive” stage set designed by visual artist Liam Gillick.

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Liam Gillick, Dublin City Gallery The Hugh Lane

October 2016


Eight sets of specially designed, differently coloured, lacquered wooden desks and stools, each featuring a circular mirror positioned as if on a dressing table, were inserted into galleries and other ancillary spaces. As quasi-domestic fixtures inside this venerable public building, they offered new locations for momentary reflection (in both senses): at the tops of staircases, in quiet corners, and within an existing collection display. Gillick's intervention was commendably restrained, concerned above all with low-key self-questioning – even as it hinted that historical celebrations can become situations of excessive national self-absorption. But as pieces of original design, his furniture also aimed to expand the frame for retrospection, alluding in their simple, elegant form to those European avant-garde styles he has long valued. They shifted our attention from national to international contexts: from our house to Bauhaus.


- Declan Long


Liam Gillick: For the doors that are welded shut, Kerlin Gallery

29 July 2013

Gillick’s third appearance at Kerlin Gallery, Dublin, sees two new works taking over the space – Complete Bin Development which consists of six structures made of aluminium and Plexiglass, is complemented by A Short Song, a two-part, wall text in powder coated aluminium. Running until 14  September, the first work follows on from research into the possible permutations conceivable within the production of car bodies prior to the emergence of entirely automated production systems. Although the sequence of towered formations are subject to the laws of engineering, the pieces can be seen as inherently abstract and flexible in terms of location and structure.

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The Journal of the Association of Art Historians

Burn Out: Liam Gillick's Post-Fordist Aesthetics

10 December 2012

A broadened perspective on Gillick must, then, look beyond the sculpture, not only to the texts, but towards the performative dimension of his artistic labour in toto, and specifically towards the dynamics of relay, deferral, dislocation and proliferation...

- Bill Roberts

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The Brooklyn Rail

Art In Conversation (with William Corwin)

May 2012

William Corwin sat down with Liam Gillick to discuss a recipe for creating public art that is neither grandiose, kitschy, nor dismissive of the public; the responsibilities of the contemporary curator; and the joys of lying face down on the floor. Gillick currently has an exhibition at Casey Kaplan (Scorpion and und et Felix, May 2 – June 23) and will have a survey at Hessel Museum of Art at Bard College’s Center for Curatorial Studies this summer (June 23 – December 21) titled From 199A to 199B.

This interview originally appeared in a different form on Art International Radio.

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Art Review

Other People and Their Ideas

November 2012

TOM ECCLES: You’ve just completed two major projects, From 199A to 199B: Liam Gillick (a survey of your works from the 1990s) at Bard’s Hessel Museum and To the Moon via the Beach (a large-scale curatorial project with Philippe Parreno and others in the Roman amphitheatre) in Arles. Both share similar artistic strategies of creating a framework of a platform in which collaborative actions can take place. The project in Arles also involved many of the artists with home you’ve worked and been associated with since the 1990s. Besides scale, what do you consider as significant changes since that time?

LIAM GILLICK: There are changes that are explicit and others that are implicit. The explicit ones are connected to the shifting economics and structural components of the art context. One aspect that is somewhat overlooked is a rise in instrumentalisation of advanced art where public or foundation funding is involved – that biases towards ‘good works’ that may appear to be responsive or open to ‘the public’. Of course, from the beginning we were all very aware of the difference between a public and an audience. There is an audience for anything, but dealing with a layered, multiple and complex public is another question altogether. This issue of instrumentalisation is much more problematic to deal with than simple pseudoethical anxieties about markets – which are easy to identify and deconstruct…
Interview by Tom Eccles
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