Born 1964 in Aylesbury, United Kingdom.
Lives and works in New York.
Education |
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| 1984–1987 | Bachelor of Arts (Hons.), Goldsmiths College, University of London |
| 1983–1984 | Hertfordshire College of Art |
Awards |
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| 2008 | The Vincent Award Nomination, Stedelijk Museum, Netherlands |
| 2002 | Turner Prize Nomination, United Kingdom |
| 1998 | Ernst Cassirer Award, Germany |
Solo Exhibitions (selection) |
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| 2019 | Standing on Top of a Building: Films 2008-2019, MADRE–Museo d'Arte Contemporanea Donna Regina, Naples |
| Stinking Dawn (with Gelatin), Kunsthalle Wien, Vienna | |
| 2018 | There Should Be Fresh Springs..., Gallery Baton, Seoul |
| 2017 | The Light is no Brighter at the Centre, Contemporary Art Centre, Vilnius |
| 2016 | Liam Gillick: Campaign. An Exhibition in Four Moments, Museu Serralves, Porto |
| What’s What in A Mirror, Dublin City Gallery – The Hugh Lane, Dublin | |
| 2015 | All-Imitate-Act, Holland Festival, Stedelijk Museum, Amsterdam |
| All-Imitate-Act, LUMA Foundation, Arles | |
| 2014 | From 199C to 199D, Le Magasin, Grenoble |
| 2013 | From Fredensborg to Halen via Lock Ruthven: Courtyard Housing Projections, HICA Highland Institute for Contemporary Art, Dalcrombie |
| Margin Time 2 and Laguna Discussion Platform, Austin Museum of Art, Austin | |
| 2012 | From 199A to 199B, Hessel Museum of Art, Annandale-on-Hudson, Bard College, New York, NY |
| 2011 | A Game of War Structure, Irish Museum of Modern Art, Dublin (site-specific commissioned for IMMA) |
| 2010 | One long walk… Two short piers, Kunst- und Ausstellungshalle der Bundesrepublik Deutschland, Bonn |
| 2009 | Three perspectives and a short scenario, Museum of Contemporary Art, Chicago |
| Executive Two Litre GXL, MAK Museum für Angewandte Kunst, Vienna | |
| 2008 | Three perspective and a short scenario, Kunstverein München, Munich; Wiite de With, Rotterdam; Kunsthalle Zürich, Zürich |
| 2007 | Monument to Charles Fourier, Musée des Beaux Arts et d'Archéologie, Besançon |
| 2005 | McNamara Motel, CAC Centro de Arte Contemporáneo, Málaga |
| 2003 | Projects 79. Liam Gillick: Literally, MoMA QNS, New York, NY |
Group Exhibitions (selection) |
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| 2019 | Intimate distance. Masterpieces from the Ishikawa Collection, Mo.Co. – Hôtel des Collections, Montpellier |
| BAU [ SPIEL ] HAUS, Neues Museum Nürnberg, Nuremberg | |
| Folded Extracted Personified, Qatar MIA Park, Doha | |
| Objects of Wonder – British Sculpture 1950s – Present, PalaisPopulaire, Berlin | |
| 2018 | Trix & Robert Haussmann. The Log-O-Rithmic Slide Rule: A Retrospective, Nottingham Contemporary, Nottingham |
| Soziale Fassaden, MMK Museum für Moderne Kunst, Frankfurt am Main | |
| Trix & Robert Haussmann. The Log-O-Rithmic Slide Rule: A Retrospective, KW Institute for Contemporary Art, Berlin | |
| 2017 | COLORI. L’emozione dei COLORI nell’arte, Castello di Rivoli Museo d’Arte, Rivoli |
| Elbphilharmonie revisited, Deichtorhallen, Hamburg | |
| Like a Moth to a Flame, Officine Grandi Riparazioni / Fondazione Sandretto Re Rebaudengo, Turin | |
| Mentally Yellow (High Noon), Kunstmuseum Bonn, Bonn and Städtische Galerie im Lenbachhaus, Munich | |
| Seeds of Time, Shanghai Project: Chapter 2, Shanghai Himalayas Museum, Shanghai | |
| True Faith, Manchester Art Gallery, Manchester | |
| Variable Dimensions – artists and architecture, MAAT Museum of Art, Architecture, and Technology, Lisbon | |
| Publishing as an Artistic Toolbox, 1989-2017, Kunsthalle Wien, Vienna | |
| Parapolitics: Cultural Freedom and the Cold War, HKW, Berlin | |
| 2016 | Where Text is Broken by a Building, Arario Museum, Seoul |
| Development, Okayama Art Summit, Okayama (artistic director) | |
| For an Image, Faster than Light, Yinchuan Biennale 2016, Museum of Contemporary Art, Yinchuan | |
| Béton, Kunsthalle Wien, Vienna | |
| The Natural Order of Things, Fundacíon Jumex, Mexico City | |
| The Peacock, Grazer Kunstverein, Graz | |
| 2015 | Space Between, FLAG Art Foundation, New York, NY |
| 6th Moscow Biennial, Moscow | |
| 14th Istanbul Biennial, Istanbul | |
| 2014 | 1984–1999. La Décennie, Centre Pompidou-Metz |
| Solaris Chronicles, LUMA Foundation, Parc des Ateliers, Arles | |
| Lucius Burckhardt and Cedric Price—A Stroll Through a Fun Palace, Swiss Pavilion, Architecture Biennale, Venice | |
| 2013 | 9 Artists, Walker Art Center, Minneapolis, MN |
| Abstract Generation: Now in Print, The Museum of Modern Art, New York, NY | |
| 2012 | Abstract Possible: The Stockholm Synergies, Tensta Konsthall, Stockholm |
| Print/Out, The Museum of Modern Art, New York, NY | |
| 2008 | Theanyspacewhatever, Guggenheim Museum, New York, NY |
| 2007 | 10th Istanbul Biennial, Istanbul |
| 1997 | documenta X, Kassel |
Liam Gillick 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. This approach is brought together in a continual testing of the conventions of the exhibition as form. In addition, he has produced a number of short films since the late 2000s, which address the construction of the creative persona in the light of the enduring mutability of the contemporary artist as a cultural figure.
Gillick uses a wide-ranging vocabulary to knowingly question the role art may play in society and how aesthetics are a political issue in the neo-liberal economy. His artworks place the viewer in an implicated role and designate spaces where it might be possible to rethink the way the built world intersects with modes of critique.
A selection of Liam Gillick's critical writing appeared as Proxemics; Selected Writings (1988–2006) in 2007 and his artistic writing as Allbooks in 2009. In 2016 Columbia University published Industry and Intelligence: Contemporary Art Since 1820, an analysis of the origins of contemporary art.
