Erasmus is late in Berlin 'versus' The What If? Scenario

Liam Gillick
March 2 – 30, 1996
Erasmus is Late in Berlin Information Room, 1996
Clay brown, lime green and light blue walls, halogen spotlights, 12 card boards with collaged information, four sheets of text in German

Photo © Liam Gillick

Erasmus is Late in Berlin Information Room, 1996 (detail)
Clay brown, lime green and light blue walls, halogen spotlights, 12 card boards with collaged information, four sheets of text in German

Photo © Liam Gillick

(The What if? Scenario) Second Stage Discussion Platform 

and Surface Designs, 1996
Anodised aluminium, Plexiglas
200 x 60 x 60 cm

Photo © Liam Gillick 

(The What if? Scenario) Second Stage Discussion Platform 

and Surface Designs, 1996
Anodised aluminium, Plexiglas
200 x 60 x 60 cm

Photo © Liam Gillick

Original exhibition invitation

Erasmus is late in Berlin 'versus' The What If? Scenario

Liam Gillick
Schipper & Krome, Berlin
March 2 – 30, 1996
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A clash between two sets of working ideas. Bringing together two specific projects that are then permitted to intersect and interweave, or collapse and reform. Taking a structural model familiar to Jamaican music of the 1970s and applying it to recent thinking. A way to end the saga of Erasmus is Late and introduce The What If Scenario. Moving from the conceit of the prototype into a production mode, elements of Erasmus is Late will prompt a commentary in the form of posters. A series of colorised images will settle the narrative structure into a parralel form. 

 

The What If Scenario pushes things along. An examination of a parallel position from which to consider a future based on a present that is not taking place. In this new work, the text has become transparent. We are left with a series of indications of what could be. After all, is it any less reasonable to think of what might happen from a position that is parallel to, rather than located in, our illusion of the present? Rather than marvelling at the tendency of past visions to be correct (after all, thinking about the future changes the future), a structure has evolved that uses the apparently incorrect elements of such utopias in order to create a contemporary starting point that shadows our own instead of working within it. A time based excursion that inevitably results in a certain collapse of form while permitting the proposal of a number of objects and situations that permit you to go beyond an ironic agreement with the failures of our century and towards a recognition of the potential of lightness, faded analysis, and an occupation of the middle ground.

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