Liam Gillick (born 1964, Aylesbury, Buckinghamshire) is a British artist who lives and works in New York City.[1] Gillick deploys multiple forms to make visible the aesthetics of the constructed world and examine the ideological control systems that have emerged along with globalization and neoliberalism. He utilizes materials that resemble everyday built environments, transforming them into minimalist abstractions that deliver commentaries on social constructs, while also exploring notions of modernism.[1]
Life and career
Liam Gillick graduated from Goldsmiths College in 1987 with a degree in fine art. In 1989 he mounted his first solo gallery exhibition, 84 Diagrams, through Karsten Schubert in London. Gillick has exhibited in galleries and institutions in Europe and the United States, many of which have been collaborative projects with other artists, architects, designers and writers.[citation needed]
In 1991, together with art collector, and co-publisher of Art Monthly, Jack Wendler, Gillick founded the limited editions and publishing company G-W Press.[2] The company produced limited editions by artists including Jeremy Deller and Anya Gallaccio.
In the early 1990s Gillick was a member of the band Soho and is credited with providing samples during their live performances.[citation needed]
In 2002, Gillick was nominated for the annual British Turner Prize. In the Winter 2006 edition of October (No. 115) Gillick's response to Claire Bishop's October article "Antagonism and Relational Aesthetics", was published as "Contingent Factors: A Response to Claire Bishop's 'Antagonism and Relational Aesthetics'."
Gillick has contributed written articles to fine art journals Frieze and Artforum.
On 1 October 2010, in an open letter to the British Government's culture secretary Jeremy Hunt — co-signed by a further 27 previous Turner Prize nominees, and 19 winners—Gillick opposed any future cuts in public funding for the arts. In the letter the co-signatories described the arts in Britain as a "remarkable and fertile landscape of culture and creativity."[6]
In October 2010, Gillick contributed a recipe for a vodka and lime juice-based cocktail as his participation in the Ryan Gander art project "Ryan's Bar". The beverage titled "Maybe it would be better if we worked in groups of two and a half," was sold for £50 per serving.[7]
In 2010, he composed a score of "zingy electronica" for the artists' film Beijing, made by his ex-wife, Sarah Morris.[8][9]
In 2019, Gillick and New Order released a new live album, "Σ(No,12k,Lg,17Mif)". The album was recorded live at the 2017 Manchester International Festival. It features new renditions of New Order classics, as well as rarities that the band had not performed in years.[10]
Artistic practice
Gillick's artistic output is characterized by diversity. As Caoimhin Mac Giolla Leith of University College Dublin has said,
"Gillick's practice to date has encompassed a wide range of media and activities (including sculpture, writing, architectural and graphic design, film, and music) as well as various critical and curatorial projects, his work as a whole is also marked by a fondness for diversions and distractions, tangents and evasions."[11]
The focus of Gillick' practice is evaluations of the aesthetics of social systems with a focus on modes of production rather than consumption.[12] He is interested in forms of social organization. Through his own writings and the use of specific materials in his artworks, Gillick examines how the built world carries traces of social, political and economic systems.[13] As art critic Ina Blom has said,
"Artists such as Liam Gillick ... no longer address abstraction as the principle for the creation of distinct minimalist objects, but rather try to create through design spaces for open social interaction [artworks] whose actual use is to be constantly redefined within the situation of the exhibition - without necessarily producing relational-aesthetic models of community."[14]
Liam Gillick, Nope, 2013, 2m2 art space, Geneva
Central to Gillick's practice are the publications that function in parallel to his artworks. An anthology of these "Allbooks" was published by Book Works, in 2009.
Between 1990 and 1994, Gillick collaborated with artist Henry Bond on their Documents Series, a group of 83 fine art works which appropriated the modus operandi of a news gathering team, in order to produce relational art.[15] In order to make the work, the duo posed as a news reporting team—i.e., a photographer and a journalist—often attending events scheduled in the Press Association's Gazette — a list of potentially newsworthy events in London. Bond worked as if a typical photojournalist, joining the other press photographers present; whilst Gillick operated as the journalist, first collecting the ubiquitous press kit before preparing his audio recording device.[15]
The series was first shown commercially in 1991, at Karsten Schubert Limited[16] and then, in 1992, at Maureen Paley's Interim Art[17] —two of the galleries that were pioneers in the development of the YBA art movement. The series was subsequently exhibited at Tate Modern in the show Century City held in 2001,[18] and at the Hayward Gallery in the exhibition How to Improve the World, in 2006.[19]
Liam Gillick, Erasmus is Late, Book Works, London, 1995
Exhibitions
Major solo exhibitions include Liam Gillick: Annlee You Proposes at Tate Modern, London, 2001-2002;[20]The Wood Way at Whitechapel Gallery in London 2002; Projects 79: Liam Gillick, Literally at the Museum of Modern Art, New York, 2003;[21] A short text on the possibility of creating an economy of equivalence at Palais de Tokyo, Paris, 2005; and the retrospective project Liam Gillick: Three perspectives and a short scenario 2008-2010, which toured the Kunsthalle Zürich, the Witte de With in Rotterdam, Kunstverein München, and the Museum of Contemporary Art, Chicago.[22][23] The U.S. presentation of the exhibition was the most comprehensive of Gillick's work in an American museum. Accompanying his solo exhibition at the MCA was the show The one hundred and sixty-third floor: Liam Gillick Curates the Collection, curated by Gillick from the MCA collection.[24] In 2016, Gillick presented a solo exhibition, titled Campaign at Serralves Museum of Contemporary Art, Porto.[25]
^Archer, Michael (2006). "Overlapping Figures" in How To Improve the World: 60 Years of British Art, London: Hayward Gallery, pg. 50, i.e., "Then later still there is the generation of Damien Hirst, Sarah Lucas, Angela Bulloch, Henry Bond and Liam Gillick, the earliest of the yBas (young British artists)."
^Blom, Ina, "THE LOGIC OF THE TRAILER: Abstraction, Style, and Sociality in Contemporary Art", Texte Zur Kunst, March 2008, Issue 69, pp. 171-77
^ abHenry Bond & Liam Gillick, "Press Kitsch," Flash Art International, Issue 165, July/August 1992, p. 65-66.
^Karsten Schubert (ed) Henry Bond and Liam Gillick: Documents (London: Karsten Schbert Limited, 1991.)
^Maureen Paley (ed.) On: Henry Bond, Angela Bulloch, Liam Gillick, Graham Gussin, Markus Hansen (London and Plymouth: Interim Art/Plymouth Arts Centre, 1992); also see Interim Art timelineArchived 11 October 2007 at the Wayback Machine
^Emma Dexter, "London 1990-2001." In Iwona Blazwick (ed.) Century City: Art and Culture in the Modern Metropolis (London: Tate, 2001), p. 84. Snippet view available on Google books.
