Liam Gillick

Liam Gillick (b.1964) deploys multiple forms to expose the new ideological control systems that
emerged at the beginning of the 1990s. Examining the aesthetics of the constructed world, Gillick’s
work exposes the dysfunctional aspects of a modernist legacy in terms of abstraction and architecture
when framed within a globalized, neo-liberal consensus. Gillick’s work ranges from small books to
large-scale architectural collaborations. His practice exists in a constant tension between his formally
minimalistic works that reflect upon the language of renovated space and his critical approach through
writing and the use of text. His work extends into structural rethinking of the exhibition as a form. In
addition he has produced a number of short films since the late 2000s which address the construction
of the creative persona in light of the enduring mutability of the contemporary artist as a cultural figure.
Margin Time (2012) The Heavenly Lagoon (2013) and Hamilton: A Film by Liam Gillick (2014). The
book Industry and Intelligence: Contemporary Art Since 1820 was published by Columbia University
Press in March 2016.

Gillick’s work has been included in numerous important exhibitions including documenta and the
Venice, Berlin and Istanbul Biennales – representing Germany in 2009 in Venice. Gillick’s work is held
in many important public collections including the Centre Pompidou in Paris, the Guggenheim Museum
in New York and Bilbao and the Museum of Modern Art in New York. Over the last twenty five years
Gillick has also been a prolific writer and critic of contemporary art – contributing to Artforum, October,
Frieze and e-flux Journal. He is the author of a number of books including a volume of his selected
critical writing. Throughout this time Gillick has extended his practice into experimental venues and
collaborative projects with artists including Philippe Parreno, Lawrence Weiner and Louise Lawler.
He lives and works in New York City.