From 199C to 199D
The significance of this structure, 1993 (left)
Prototype Erasmus Table #2 (Gent), 1994 (front)
Prototype Ibuka! Coffee Table/Stage (Act3), 1995 (back)
Photo © Blaise Adilon
The significance of this structure, 1993 (left)
Prototype Erasmus Table #2 (Gent), 1994 (center)
McNamara Motel, 1997 (back)
White neon, metal structure
Prototype Ibuka! Coffee Table/Stage (Act3), 1995 (back right)
Photo © Blaise Adilon
Prototype Erasmus Table #2 (Gent), 1994 (front)
McNamara Motel, 1997 (back)
White neon, metal structure
Prototype Ibuka! Coffee Table/Stage (Act3), 1995 (back right)
Photo © Blaise Adilon
McNamara Motel, 1997 (left)
white neon, metal structure
Prototype Erasmus Table #2 (Gent), 1994 (front)
Prototype Ibuka! Coffee Table/Stage (Act3), 1995 (back)
Photo © Blaise Adilon
McNamara Motel, 1997 (left)
White neon, metal structure
with Gabriel Kuri
Everyday Holiday / La fête au quotidien, 1996 (back center)
Institutional signage, confetti stickers
Prototype Ibuka! Coffee Table/Stage (Act3), 1995 (back right)
Photo © Blaise Adilon
McNamara Motel, 1997
White neon, metal structure
Photo © Blaise Adilon
with Gabriel Kuri
Everyday Holiday / La fête au quotidien, 1996 (left)
Institutional signage, confetti stickers
Prototype Ibuka! Coffee Table/Stage (Act3), 1995 (right)
Photo © Blaise Adilon
Prototype Ibuka! Coffee Table/Stage (Act3), 1995
Photo © Blaise Adilon
with Gabriel Kuri
Everyday Holiday / La fête au quotidien, 1996 (left)
Institutional signage, confetti stickers
Prototype Ibuka! Coffee Table/Stage (Act3), 1995 (detail; front)
Photo © Blaise Adilon
Book Readings, 2014
Photo © Blaise Adilon
Prototype Ibuka! Coffee Table/Stage (Act3), 1995
Photo © Blaise Adilon
Prototype Ibuka! Coffee Table/Stage (Act3), 1995
Photo © Blaise Adilon
Prototype Erasmus Table #1 (Bourgogne), 1994
Photo © Blaise Adilon
Prototype Erasmus Table #1 (Bourgogne), 1994
Photo © Blaise Adilon
Prototype Erasmus Table #1 (Bourgogne), 1994
Photo © Blaise Adilon
The What If? Scenario (Part 1), 1995–2014
Texts, halogen lamps
Photo © Blaise Adilon
The What If? Scenario (Part 1), 1995–2014
Texts, halogen lamps
Photo © Blaise Adilon
The What If? Scenario (Part 1), 1995–2014
Texts, halogen lamps
Photo © Blaise Adilon
Odradek wall, 1998
Pine planking, halogen lamps
Photo © Blaise Adilon
Information Room (German Research Service Special Press Reports, Tattoo Magazine, Women's Basketball), 1993
Dyed jute, various papers
(The What If? Scenario) Dining Table, 1996 (center)
Blue table tennis table, silver glitter
Photo © Blaise Adilon
Information Room (German Research Service Special Press Reports, Tattoo Magazine, Women's Basketball), 1993
Dyed jute, various papers
(The What If? Scenario) Dining Table, 1996 (front)
Blue table tennis table, silver glitter
Photo © Blaise Adilon
(The What If? Scenario) Dining Table, 1996
Blue table tennis table, silver glitter
Photo © Blaise Adilon
Information Room (German Research Service Special Press Reports, Tattoo Magazine, Women's Basketball), 1993
Dyed jute, various papers
(The What If? Scenario) Dining Table, 1996 (front)
Blue table tennis table, silver glitter
Photo © Blaise Adilon
Information Room (German Research Service Special Press Reports, Tattoo Magazine, Women's Basketball), 1993
Dyed jute, various papers
Photo © Blaise Adilon
McNamara Papers: Towards a Documentary, 1997
Photo © Blaise Adilon
Documentary Realisation Zone #1 to #3 (Dijon), 1997
Video, Plexiglas, 3 TV sets, catalogues, climbing rope
Photo © Blaise Adilon
Documentary Realisation Zone #1 to #3 (Dijon), 1997
Video, Plexiglas, 3 TV sets, catalogues, climbing rope
Photo © Blaise Adilon
Documentary Realisation Zone #1 to #3 (Dijon), 1997
Video, Plexiglas, 3 TV sets, catalogues, climbing rope
Photo © Blaise Adilon
When Do We Need More Tractors? Five Plans, 1999 (left)
Wood, vinyl wall text, vodka, glitter, lemon
with Philippe Parreno
Moral Maze / Le labyrinthe moral, 1995–2014
Various artists producing artworks, table, seating
Photo © Blaise Adilon
When Do We Need More Tractors? Five Plans, 1999
Wood, vinyl wall text, vodka, glitter, lemon
Photo © Blaise Adilon
When Do We Need More Tractors? Five Plans, 1999
Wood, vinyl wall text, vodka, glitter, lemon
Photo © Blaise Adilon
When Do We Need More Tractors? Five Plans, 1999 (back; detail)
Wood, vinyl wall text, vodka, glitter, lemon
with Philippe Parreno
Moral Maze / Le labyrinthe moral, 1995–2014
Various artists producing artworks, table, seating
Photo © Blaise Adilon
A Broadcast from 1887 on the Subject of our Time, 1996
Radio transmitter, radio receiver
Photo © Blaise Adilon
A Broadcast from 1887 on the Subject of our Time, 1996
Radio transmitter, radio receiver
Photo © Blaise Adilon
From 199C to 199D
Le Magasin – Centre National d’Art Contemporain de Grenoble presents an exhibition by artist Liam Gillick. From 199C to 199D is the second part of a collaborative process that began with the artist working alongside students of the Center for Curatorial Studies at Bard College (New York) in 2012. For Le Magasin a completely new exhibition has been produced that reexamines many key works by the artist from the 1990s in close collaboration with the students of the École du Magasin.
Re-activating Liam Gillick’s works questions the mutual relationship between the curatorial, the artist, the institution and the viewer, providing a new perspective on the future of contemporary artistic forms. The exhibition becomes a time game where the near future and the recent past collapse, creating a new scenario in which the artworks and the ideas of the artist are revealed anew; a space of critical exchange and new debates is opened.
Liam Gillick lives and works in New York. He has presented his work on several occasions at Le Magasin, in particular with The Trial of Pol Pot (1998) alongside Philippe Parreno.
