Liam Gillick  Liam Gillick In Piedi in Cima a un Edificio: Film 2008-2019 Standing On Top of a Building: Films 2008-2019 Publisher: Arte’m / Madre Napoli, 2020   Liam Gillick, Horseness is the Whatness of All Horse, installation view Taro Nasu, Tokyo, June 5 to July 4, 2020  Liam Gillick: Redaction, installation view Casey Kaplan, New York, March 3 - April 18, 2020  McNamara Setting, 1994 Liam Gillick: Redaction, Casey Kaplan, New York, March 3 - April 18, 2020  Standing on Top of a Building: Films 2008-2019 Madre Museum, Naples, June 22 - October 14, 2019  Mercantile Empiricism, 2019 The Night of Red and Gold, Maureen Paley, London  Gelatin and Liam Gillick Stinking Dawn, Kunsthalle Wien, July 5 - October 6, 2019  New Order + Liam Gillick, ∑(No,12k,Lg,17Mif) So it goes... 2019 Mute Records  Folded Extracted Personified, 2019 10 elements, printed aluminium MIA Park, Doha, QatarQatar Museums Public Art Program  Liability Channelled, 2018 Liam Gillick, A Depicted Horse is not a Critique of a Horse, Kerlin Gallery, Dublin, 23 November 2018 – 19 January 2019  Margin Time 3, 2018 Liam Gillick Adam Pendleton Adam Pendleton Liam Gillick, Eva Presenhuber, New York, November 3 - December 22, 2018  There Should Be Fresh Springs, 2018 There Should Be Fresh Springs, Gallery Baton, Seoul, Korea, October 19 - November 23, 2018  Vented Division, 2017     November 18, 2017–January 14, 2018 Contemporary Art Centre (CAC), Vilnius, Lithuania  Schreibtischuhr, 2017 Galerie Meyer Kainer, Vienna Curated by John Rajchman Artists selected by Liam Gillick Noah Barker, Loretta Fahrenholz, Liam Gillick, Louise Lawler, Ahmet Öğüt, Philippe Parreno, Seth Price, John Rajchman, Cameron Rowland, Lawrence Weiner, Heimo Zobernig  ∑(No,12k,Lg,17Mif) So it goes...  New Order and Liam Gillick: Manchester International Festival 2017 ∑(No,12k,Lg,17Mif) So it goes... photo: Jon Super for MIF17  New Order and Liam Gillick: Manchester International Festival 2017 ∑(No,12k,Lg,17Mif) So it goes... photo: Jon Super for MIF17  Esther Schipper, Berlin, July 2 – August 5, 2017 Photo © Andrea Rossetti  Were People This Dumb Before TV? A Curated Selection from the Graphic Archive 1990–2017 Esther Schipper, Berlin, July 2 – August 5, 2017 Photo © Andrea Rossetti  Extended Soundtrack for a Lost Production Line: Ton und Film, Galerie Eva Presenhuber, Zurich, April 2017 Installation view  Extended Soundtrack for a Lost Production Line: Ton und Film, Galerie Eva Presenhuber, Zurich, April 2017 Installation view  Campaign Catalogue published by Museu de Arte Contemporânea de Serralves, March 2017
 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 Courtesy of the artist, New York and Esther Schipper Gallery, Berlin 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  Painted wood and text Courtesy of the artist, New York and Esther Schipper Gallery, Berlin 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, And a mirror... Or a mirror..., 2016
Kerlin Gallery, Dublin
 Liam Gillick, Factories in the Snow (Anywhere Anywhere Out of the World), 2007-2013
Private Collection, Paris
 Industry and Intelligence
Contemporary Art Since 1820Columbia University Press, New York.
Liam Gillick writes the holistic genealogy of contemporary art that we need to appreciate its engagement with history, even when it seems apathetic or blind to current events. Rather than focus on dominant works or special cases, Gillick takes a broad view of artistic creation from 1820 to today, underscoring the industry and intelligence of artists as they have responded to incremental developments in science, politics, and technology. The great innovations and dislocations of the nineteenth and twentieth centuries have their place in this timeline, but their traces are alternately amplified and diminished as Gillick moves through artistic reactions to liberalism, mass manufacturing, psychology, nuclear physics, automobiles, and a host of other advances. He intimately ties the origins of contemporary art to the social and technological adjustments of modern life, which artists struggled to incorporate truthfully into their works. March 2016 ISBN: 9780231170208 192 Pages 50 b&w illustrations Hardcover, ebook and paper cover        Liam Gillick
Retrained Screen
2015 Chrome powder coated aluminum, white opaque Plexiglas 230 x 80 x 20cm Casey Kaplan, New York  Liam Gillick The Thought Style Meets the Thought Collective 12 October - 22 November 2015
Installation View
Maureen Paley, London  Liam Gillick 1 Rue Gabriel Tarde, Sarlat-la-Caneda, Dordogne
Galerie Micheline Szwajcer, Brussels, 2015
Installation view
 Liam Gillick
Hydrodynamica Applied, 2015
Istanbul Biennale
Collection Istanbul Modern
 “From Nineteen Ninety A to Nineteen Ninety D” includes the artist’s original texts from the 1990s, new essays by Yves Aupetitallot, Tom Eccles, Paul O’Neill, and Jörn Schafaff, and contributions from the many collaborative partners and students who restaged Gillick’s work within exhibitions at CCS Bard, Hessel Museum, Annandale-on-Hudson (2013) and the École du Magasin, Grenoble (2014). Published with Le Magasin CNAC, Grenoble; CCS Bard/Hessel Museum of Art, Annandale-on-Hudson; and the support of Esther Schipper, Berlin. English September 2015 ISBN: 978-3-03764-405-8 Hardcover, 190 x 240 mm 240 pages Images 200 color |