The Wood Way, 2002 installation views Whitechapel Gallery, London
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Prototype Conference Room (Whitechapel Version), 2002 and 2008 onwards dyed canvas (2002) Kvadrat Tonus (2008 onwards) dimensions varied
Whitechapel Gallery, London
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Literally this Place, 2003 powder-coated aluminium 152 x 152 x 152 cm
Reconciliation Corral, 2003 powder-coated aluminium 152 x 152 x 152 cm
Elevation Structure, 2003 powder-coated aluminium 152 cm x 152 cm x 152 cm
Exterior, 2003 powder-coated aluminium 150 x 152 x 152 cm
Exterior Days, Casey Kaplan, New York, 2003
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Stand now on a Ridge, 2003 vinyl text dimensions variable
Exterior Days, Casey Kaplan, New York, 2003
| Literally (Structure), 2003 powder-coated aluminium 240 x 240 x 240 cm
Literally, MoMA, New York, 2003 | Literally (Diagram), 2003 paint on wall dimensions variable Literally, MoMA, New York, 2003
| Telling Histories: An Archive and three Case Studies with Contributions by Mabe Bethonico and Liam Gillick, 2003 installation view Telling Histories, Kunstverein München, 2003
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Public information posters, 2004 inkjet prints each 59.4cm x 42cm Liam Gillick, A group of people, Air de Paris, 2004
| Flex Floating, 2004 powder-coated water cut aluminium 200cm x 100cm x 5mm Liam Gillick, A group of people, Air de Paris, 2004
| Underground (trailer for a book), 2004 Brionvega Cuboglas television, brown carpet, book dimensions variable Liam Gillick, Underground (Fragments of future histories), Galerie Micheline Szwajcer, Antwerp, 2004
| Briannnnnn & Ferryyyyyy (with Philippe Parreno), 2005 animation in 10 episodes dimensions variable Liam Gillick and Philippe Parreno, Rider: Law and Creativity, Konsthall, Lund, 2005
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Briannnnnn & Ferryyyyyy (with Philippe Parreno), 2005 animation in 10 episodes dimensions variable Liam Gillick and Philippe Parreno, Rider: Law and Creativity, Konsthall, Lund, 2005
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McNamara Motel, 2005 vinyl text, plywood benches dimensions variable Liam Gillick, McNamara Motel, CAC, Malaga, 2005
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Edgar Schmitz, 2005 (with Edgar Schmitz) Liam Gillick and Edgar Schmitz, Edgar Schmitz, ICA, London, 2005
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Quarter scale modeo of a social structure for a plaza in Guadalajara, 2005 painted wood, lights 900cm x 240cm x 150cm Liam Gillick, As you approach the edge of town the lights are no softer than they were in the centre, Casey Kaplan, New York, 2005
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The views imagined by the workers after they stopped producing cars, 2005 paint, powder-coated aluminium dimensions variable Liam Gillick, As you approach the edge of town the lights are no softer than they were in the centre, 2005 |
 Collected development structures, 2005 powder-coated aluminium, Plexiglas dimensions variable Liam Gillick, As you approach the edge of town the lights are no softer than they were in the centre, 2005 |
The view constructed by the factory after it stopped producing cars, 2005 painted steel each element 900cm wide, height variable, spacing variable Liam Gillick, A short text on the possibilities of creating an economy of equivalence, Palais de Tokyo, Paris, 2005
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Poster design, MM Agence, Paris Liam Gillick, A short text on the possibilities of creating an economy of equivalence, Palais de Tokyo, Paris, 2005
| The hopes and dreams of the workers as they wandered home from the bar, 2005 red glitter dimensions variable Liam Gillick, A short text on the possibilities of creating an economy of equivalence, Palais de Tokyo, Paris, 2005 |
A diagram of the factory once the former workers had cut extra windows in the walls, 2005 painted steel 900cm x 900cm x 240cm Liam Gillick, A short text on the possibilities of creating an economy of equivalence, Palais de Tokyo, Paris, 2005 |
A short text on the possibilities of creating an economy of equivalence, Palais de Tokyo, Paris, 2005 study area |
The view constructed by the factory after it stopped producing cars, 2005 detail painted steel each element 900cm wide, height variable, spacing variable Liam Gillick, A short text on the possibilities of creating an economy of equivalence, Palais de Tokyo, Paris, 2005
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The two hundred and twenty second floor, 2005 installation view Liam Gillick, The two hundred and twenty second floor, Eva Presenhuber, Zurich, 2005
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The view constructed by the factory after it stopped producing cars, 2005 painted steel each element 900cm wide, height variable, spacing variable Liam Gillick, A short text on the possibilities of creating an economy of equivalence, La Casa Encendida, Madrid, 2005 |
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A diagram of the factory once the former workers had cut extra windows in the walls, 2005 painted steel, cafe, text dimensions variable Liam Gillick, A short text on the possibilities of creating an economy of equivalence, La Casa Encendida, Madrid, 2005
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Culture is important in a free society (an exhibition of things that don’t exist yet), 2006 20 inkjet prints each 84.1cm x 59.4cm How to improve the world, Hayward Gallery, London, 2006 |
 |  Literally based on H.Z., 2006 MDF, Plexiglas, powder-coated aluminium, water cut aluminium, wood dimensions variable Liam Gillick, Literally based on H.Z., Kerlin Gallery, Dublin, 2006 |  |  Entrance to an abandoned factory, 2006 powder-coated aluminium, Plexiglas 300cm x 200cm x 30cm
Modelised retraction screen, 2006 powder-coated aluminium, Plexiglas 300cm x 200cm x 30cm
The state itself becomes a super commune, 2006 vinyl text dimensions variable
Liam Gillick, The state itself becomes a super commune, Esther Schipper, Berlin, 2006
|  |  |  Glanced in the midst of a legislated break, 2006 powder-coated aluminium 40 elements each 200cm x 15cm x 3cm Liam Gillick, The state itself becomes a super commune, Esther Schipper, Berlin, 2006
|  Returning to an abandoned plant, 2007 powder-coated aluminium, Plexiglas 300cm x 200cm x 30cm Liam Gillick, The commune itself becomes a super state, Corvi-Mora, London, 2007 |  Installation view Liam Gillick, The commune itself becomes a super state, Corvi-Mora, London, 2007
|  The commune itself becomes a super state, 2007 Liam Gillick, The commune itself becomes a super state, Corvi-Mora, London, 2007 |  Closed reopened closed again, 2007 powder-coated aluminium 40 elements each 200cm x 15cm x 3cm Liam Gillick, The commune itself becomes a super state, Corvi-Mora, London, 2007
|  The state/commune itself becomes a super state/commune, 2007 installation view Galerie Micheline Szwajcer, Antwerp, 2007 |  Relieved wall structure, 2007 powder-coated aluminium 10 elements each 200cm x 15cm x 3cm
Articulated wall structure, 2007 powder-coated aluminium 10 elements each 200cm x 15cm x 3cm
Liam Gillick, The state/commune itself becomes a super state/commune, Galerie Micheline Szwajcer, Antwerp, 2007
| Long view towards a renovated factory, 2007 powder-coated aluminium, Plexiglas 300cm x 200cm x 30cm
Relieved production cycle, 2007 powder-coated aluminium, Plexiglas 300cm x 200cm x 30cm
Liam Gillick, The state/commune itself becomes a super state/commune, Galerie Micheline Szwajcer, Antwerp, 2007
|  |  Construcción de uno (a prequel), 2006 Volkswagen Golf Mark 1, screen, text, soundtrack, 3 actors dimensions variable Tate Triennial, Tate, London, 2006 |  |  |  |  theanyspacewhatever signage system, 2008 powder-coated aluminium 50 elements each approximately 120cm x 50cm theanyspacewhatever, Guggenheim Museum, New York, 2008
|  theanyspacewhatever signage system, 2008 powder-coated aluminium 50 elements each approximately 120cm x 50cm theanyspacewhatever, Guggenheim Museum, New York, 2008
|  |  |  |  theanyspacewhatever signage system, 2008 powder-coated aluminium 50 elements each approximately 120cm x 50cm theanyspacewhatever, Guggenheim Museum, New York, 2008
|  Audioguide benches (with Philippe Parreno), 2008 dyed MDF 6 elements each 240cm x 480cm x 50cm theanyspacewhatever, Guggenheim Museum, New York, 2008 |  |  Everything good goes, 2008 digital video “Red One” dimensions variable video stills The Vincent Award, Stedelijk Museum, Amsterdam, 2008 |
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