The Wood Way, 2002
installation views
Whitechapel Gallery, London


Prototype Conference Room
(Whitechapel Version), 2002 and
2008 onwards
dyed canvas (2002)
Kvadrat Tonus (2008 onwards)
dimensions varied
Whitechapel Gallery, London


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


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


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


Briannnnnn & Ferryyyyyy 
(with Philippe Parreno), 2005 
animation in 10 episodes 
dimensions variable 
Liam Gillick and Philippe Parreno, Rider: Law and Creativity, Konsthall, Lund, 2005 


McNamara Motel, 2005
vinyl text, plywood benches
dimensions variable
Liam Gillick, McNamara Motel, CAC, Malaga, 2005


Edgar Schmitz, 2005 (with Edgar Schmitz)
Liam Gillick and Edgar Schmitz, Edgar Schmitz, ICA, London, 2005

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


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


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


The two hundred and twenty
second floor, 2005
installation view
Liam Gillick, The two hundred and twenty second floor, Eva Presenhuber, Zurich, 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, La Casa Encendida,
Madrid, 2005
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


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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