Liam Gillick




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



New Order and Liam Gillick: Manchester International Festival 2017
∑(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


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


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


Campanha
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


A Game of War (Terrain), 2016
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

https://cup.columbia.edu/book/industry-and-intelligence/9780231170208

Industry and Intelligence
Contemporary Art Since 1820
Columbia 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

http://www.jrp-ringier.com/pages/index.php?id_r=4&id_p=15&id_b=2623

This publication is a selected survey of Liam Gillick’s groundbreaking projects, installations, methods, and practices, which challenged the orthodox presentation and reception of art through the 1990s. Considering the relationship between the artist, the institution, and the audience to be mutually codependent in the creation of meaning, Gillick created situations in which the outcome was incomplete without the institution’s involvement and the questioning of the expanded role of the exhibition visitor.

“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