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 |
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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
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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
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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
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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
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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
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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
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theanyspacewhatever
signage system, 2008
powder-coated aluminium
50 elements each approximately
120cm x 50cm
theanyspacewhatever, Guggenheim Museum, New York, 2008
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theanyspacewhatever
signage system, 2008
powder-coated aluminium
50 elements each approximately
120cm x 50cm
theanyspacewhatever, Guggenheim Museum, New York, 2008
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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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