Liam Gillick. That is right, the man whose imagination can take him anywhere. A transparent master of the question of Modernity? Cat lover? Designer/author/theorist/artist/architect? The son Donald Judd never wanted? Enigma cloaked in riddle? Relational Aesthetic celebrity? All these things and more… We at Bad at Sports try and get to the bottom of Liam’s magic in this hour-long interview.
The last element in Liam Gillick’s 4 part global retrospective, “Three perspectives and a short scenario” will run through January 10th at Chicago’s Museum of Contemporary Art.
Accompanying that exhibition, Gillick has produced “The one hundred and sixty-third floor: Liam Gillick Curates the Collection,” which is also be on view.
Liam Gillick emerged in the early 1990s as part of a re-energized British art scene, producing a sophisticated body of work ranging from his signature “platform” sculptures — architectural structures made of aluminum and colored Plexiglas that facilitate or complicate social interaction — to wall paintings, text sculptures, and published texts that reflect on the increasing gap between utopian idealism and the actualities of the world.
His work joins that of generational peers such as Rirkrit Tiravanija and Philippe Parreno in defining what critic Nicholas Bourriaud described as “relational aesthetics,” an approach that emphasizes the shifting social role and function of art at the turn of the millennium. Gillick’s work has had a profound impact on a contemporary understanding of how art and architecture influence, and are themselves influenced by, interpersonal communication and interactions in the public sphere.
This exhibition is presented in association with the Witte de With in Rotterdam, Kunsthalle Zurich, and the Kunstverein in Munich. It is the most significant and comprehensive exhibition of Gillick’s work in an American museum to date, comprising a major site-specific installation in the gallery ceiling as well as a presentation of his design and published works, and a film documenting projects from the entirety of his career. The MCA is the only American venue for the exhibition.
Musee D’Art Contemporain De Bordeaux (CAPC)
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