Liam Gillick, Heckle, 2014
The focus of the film is an old concrete jetty near to a beach. The camera examines this slumped structure as the water laps at its edges. The soundtrack comprises three different forms of heckling. The first is the sound of a Wall Street Banker heckling a group of protesters - reverse heckling. The second is a "plant" in the audience of a stand-up comedian - fake heckling. The third is the sound of a group of young musicians grinding to a halt under the pressure of an enthusiastic heckler - positive heckling.
Liam Gillick, 1848!!!, 2010
single channel HD video (colour, sound) 47’ 48”
first exhibited Esther Schipper, Berlin, 2010
Featuring Clementine Coupau and Uri Aran. Unfolding between
the three protagonists in six acts in front of, behind, and alongside
the camera is a singular confrontation with these historical events.
Liam Gillick prompts Clementine Coupau to recite the historic
chronology of revolutionary events, now referred to in the future
tense: “March 3, 1848: Revolution will break out in the Rhineland”;
“March 12, 1848: Revolution will break out in Vienna”; “March 15, 1848:
Revolution will break out in Berlin”; “All of these revolutions
will follow the same pattern: news of revolution in France will
attract excited crowds, groups of men (mostly journalists,
lawyers, and students) will meet to discuss rumors.”
Red Video, 14' 52"
first exhibited Stedelijk Museum, Vincent Award, 2008
courtesy TBA21 collection Austria, Casey Kaplan, New York and Air de Paris, Paris
Liam Gillick’s video Everything Good Goes is set in New York in 2008.
An artist is preparing and editing a series of texts and recording of
lectures that he presented at unitednationsplaza in Berlin. As he
reworks the contents of the lectures, he is at the same time attempting
to construct a 3D computer model of the film set of Tout va bien by
Jean-Luc Godard and Jean-Pierre Gorin. The process is filmed and
co-directed by Laurent Vacher, Catherine Camille Cushman and
Stephen Blaise. Tout va bien may be seen as Godard’s homage
to the leftist, activist spirit of 1968, but also, according to critics
at the time, questions the purpose of a revolutionary film
in a bourgeois society.
VHS video, 20’ 08”
first exhibited Esther Schipper, Berlin
Two curators make a short film showing the artist a large digital clock on top of
Osterberg Optik in central Kassel – one of the artist’s works for documenta X.
The film is a record of display, presentation and boredom.
Installation of 'A Syntax of Dependency:', at M HKA (Antwerp, Belgium).
Liam Gillick and Anton Vidokle, A Guiding Light, 2010
For A Guiding Light, Gillick and Vidokle invited artists Boško Blagojević, Noah Brehmer, Nadja Frank,
Shuddhabrata Sengupta, and Danna Vajda, critic Tim Griffin, and curators Anna Colin, and Shama Khanna
to consider the curatorial premise of a large scale international art exhibition: the 8th Shanghai Biennale.
The artists gathered these eight participants at a New York television studio, and, combining a curatorial text
by Gao Shiming with a structural analysis of a 1952 episode of the television soap opera Guiding Light,
staged a production that shifts between analysis and self-critique.
Liam Gillick >