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 Journa. 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.