One of the most important figures in international contemporary art, Liam Gillick works across diverse forms, including sculpture and installation. A theorist, curator and educator as well as an artist, his wider body of work includes published essays and texts, lectures, curatorial and collaborative projects, all of which inform (and are informed by) his art practice. Gillick’s line of enquiry is into conditions of production, including how it continues to operate in a post-industrial landscape: questions of economy, labour and social organisation are ongoing preoccupations. He is perhaps best-known for producing sculptural objects – platforms, screens, models, benches, prototypes, signage, or structural supports made from sleek modular Plexiglas and aluminium forms in standardised colours from the RAL system. These seductive materials speak the language of renovation and development: originally refined by the military, they’ve been widely used in corporate interiors since the 1990s, a decade in which post-industrial societies saw a shift from the collective to the individualist and privatised. Drawing upon engineering and industrial design as well as the legacy of hard-edged minimalism, these abstract quasi-architectural forms offer a critique of neo-liberal or corporate aesthetics, automation and endless (re)development. Focusing on secondary or incomplete forms such as screens and platforms, Gillick pinpoints structures which have a potential to destabilise the power of architecture and the architecture of power, creating generative spaces for discussion or the development of ideas.

Liam Gillick has had solo exhibitions in many of the world’s leading museums, including Stedelijk Museum, Amsterdam; Kunsthalle Zürich; Museum of Modern Art, New York; Palais de Tokyo, Paris; Witte de With, Rotterdam; Kunst-und Ausstellungshalle der Bundesrepublik Deutschland, Bonn; MAGASIN, Grenoble; Museum of Contemporary Art, Chicago; Tate Britain, London and IMMA, Dublin. Recent solo projects include A Variability Quantifier (The Fogo Island Red Weather Station), The National Gallery of Canada | Fogo Island Arts | World Weather Network (2022); Blanc International Contemporary Space, Beijing; Gwangju Museum of Art, Korea; Sankt Peter, Cologne (all 2021); Madre Museum, Naples; Kunsthalle Wien, Vienna; Kunsthaus Zürich; Neues Museum Nürnberg; Potter Museum, Melbourne (all 2019); Contemporary Art Centre, Vilnius (2017–18); Fundação de Serralves, Porto (2016-17) and Dublin City Gallery The Hugh Lane (2016). Gillick has participated in major international exhibitions including Okayama Art Summit, Japan and the Venice, Shanghai, Istanbul, Singapore and Yinchuan biennales.

Zhou Li has been the subject of solo exhibitions at Guangdong Museum of Art, Guangzhou; Château La Coste, Aix-en-Provence, France; White Cube, London; Hive Center for Contemporary Art, Beijing and Yuz Museum, Shanghai. 

Current exhibitions include Tracing Peach Blossom Spring, Pingshan Art Museum, Shenzhen, China (solo, 2022); Greater Than Abstraction, Space 185 of Bund Art Center, Shanghai (18 December 2022 – 16 April 2023) and the 9th Bi-City Biennale of Urbanism/Architecture, Shenzhen (10 December 2022 – 16 April 2023).