Anri Sala (b. 1974) creates hauntingly simple videos that explore the roles language and vision play in fractured contemporary society. Anri Sala is represented by Galerie Chantal Crousel (Paris), Hauser & Wirth (Zurich/London) and Marian Goodman Gallery (New York).
Read Gillick's book to find the packed sediment of conceptual art discourse undergoing metamorphic transformation - with the marketized artworld's slow heat, dull pressure, and surface torque leaving inevitable traces on an intelligent maker's mind. Caroline A. Jones, Critical Inquiry
This new monograph, the first in 10 years to bring together a truly substantial body of Gillick's work, takes as its focus the artist's projects of the last five years, proposing a new reading of his oeuvre. It draws attention to the rigor of the thinking developed in both his sculptural work and his writings, as well as to his sharp visual sense of the structural and formal properties of his materials. Gillick appeared on the scene at the beginning of the 1990s, right in the middle of the YBA phenomenon, and has since had wide exposure in exhibitions like Documenta, Manifesta and the Venice Biennale, and in being nominated for the 2002 Turner prize.
Focusing on climate awareness, Liam Gillick's project on Fogo Island features the installation of a unique weather station that not only collects local weather data but also serves as a hub for education and community dialogue. The book documents his 2023 return to the island for a documentary, capturing conversations with residents about the climate crisis's impact on their lives. It includes a detailed account of the installation process and highlights Gillick's ongoing commitment to integrating art with scientific discourse on climate issues.
Book includes chronological photographic documentation of the three-day exhibition in the Ampitheatre in Arles in July 2012.
Liam Gillick's designs for conference rooms, corridors and offices solidify the artist's sustained interest in negotiating the middle-ground between corporate culture and contemporary art. This illustrated reader contains an essay by Gillick on the dissolution of the public/private dichotomy within the grey zone of semi-public/semi-private spheres.
Liam Gillick (*1964, Aylesbury, United Kingdom) is one of the most prominent representatives of new developments in conceptual art. The title of his new publication Half a Complex refers to an interest in systems of development and production, suggesting a sense of deliberate incompletion at the heart of the oeuvre. The distinct bodies of work reveal a self-conscious commentary on the conditions of production and reception that surround art today. Alongside the in-depth documentation of Gillick’s various graphic works, films, and exhibitions since 2008, the monograph features an extensive body of texts by Gillick who is also a prolific writer and critic of contemporary art.
The symposium reflects on historical and actual models of art institutions and organisations that deal with production and circulation of art and ideas in an experimental and flexible way. It takes into consideration the complexity of artistic practises produced since the 60s that can adopt a wide range of variable formats, in many cases focused on strategies that establish relations between different systems or disciplines rather than producing a final visual object. How can these structures exist in places where there is not an established art institution, with an infra-structure present in regions such as Western Europe or the U. S.? How do you make these platforms possible and effective without making them into something with a permanent or rigid state? How do you use the support of an institution and still have space for production and circulation in an experimental and flexible way? On the other hand, how do you have a certain continuity without the support of an institution?
This publication follows the development of Gillick's concepts and trains of thought, and presents his work through numerous colour illustrations and an informative essay. A biography, bibliography, exhibition details and reviews are also included