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Liam Gillick (born 1964) is a British artist. In the 1990s he was one of the informal Young British Artists group; like many of them, he took a degree in fine art from Goldsmiths' College, in London. He was among the artists included in the Traffic exhibition at the Musée d'art contemporain de Bordeaux in Bordeaux in 1996, where Nicolas Bourriaud's concept of relationality was first proposed. Gillick lives in New York. "Liam Gillick", Hessel Museum of Art, Bard College. Retrieved on 9 November 2019
In 1991, together with art collector, and co-publisher of Art Monthly, Jack Wendler, Gillick founded the limited editions and publishing company G-W Press.Unattributed, " Liam Gillick and Carsten Holler ," Fondazione Antonio Ratti; retrieved 6 October 2010. The company produced limited editions by artists including Jeremy Deller and Anya Gallaccio.
In the early 1990s Gillick was a member of the band Soho and is credited with providing samples during their live performances.
Together with Damien Hirst, Sarah Lucas, Angela Bulloch and Henry Bond, he was "the earliest of the YBAs"Archer, Michael (2006). "Overlapping Figures" in How To Improve the World: 60 Years of British Art, London: Hayward Gallery, pg. 50, i.e., "Then later still there is the generation of Damien Hirst, Sarah Lucas, Angela Bulloch, Henry Bond and Liam Gillick, the earliest of the yBas (young British artists)." – the Young British Artists who dominated British art during the 1990s.
Gillick was included in the 1996 exhibition Traffic, curated by Nicholas Bourriaud, which first introduced the term Relational Aesthetics. Frieze Magazine, Issue 28 1996, "Traffic"
In 2002, Gillick was selected to produce artworks for the canopy, the glass facade, the kiosks, the entrance ikon, and the vitrines, of the then-recently completed Home Office building, a United Kingdom government department, at Marsham Street, London.
In 2002, Gillick was nominated for the annual British Turner Prize. In the Winter 2006 edition of October (No. 115) Gillick's response to Claire Bishop's October article "Antagonism and Relational Aesthetics", was published as "Contingent Factors: A Response to Claire Bishop's 'Antagonism and Relational Aesthetics'."
Gillick has contributed written articles to fine art journals Frieze and Artforum. In 2008, Gillick was short-listed for the Vincent Award of the Stedelijk Museum Amsterdam. In 2009, Gillick represented Germany in the Giardini Pavilions of the Venice Biennale.
On 1 October 2010, in an open letter to the British Government's culture secretary Jeremy Hunt – co-signed by a further 27 previous Turner Prize nominees, and 19 winners—Gillick opposed any future cuts in public funding for the arts. In the letter the co-signatories described the arts in Britain as a "remarkable and fertile landscape of culture and creativity."Peter Walker, "Turner prize winners lead protest against arts cutbacks", The Guardian, 1 October 2010.
In October 2010, Gillick contributed a recipe for a vodka and lime juice-based cocktail as his participation in the Ryan Gander art project "Ryan's Bar". The beverage titled "Maybe it would be better if we worked in groups of two and a half," was sold for £50 per serving.Spoonfed Arts Team, " Artists to make £50 cocktails at SUNDAY Art Fair ", Spoonfed; accessed 10 October 2010.
In 2010, he composed a score of "zingy electronica" for the artists' film Beijing, made by his ex-wife, Sarah Morris.
In 2019, Gillick and New Order released a new live album, "Σ(No,12k,Lg,17Mif)". The album was recorded live at the 2017 Manchester International Festival. It features new renditions of New Order classics, as well as rarities that the band had not performed in years.Simpson, Dave. "New Order + Liam Gillick: So It Goes review – a suitably theatrical Manchester return", The Guardian, London, 2 July 2017; retrieved 9 November 2019.
"Gillick's practice to date has encompassed a wide range of media and activities (including sculpture, writing, architectural and graphic design, film, and music) as well as various critical and curatorial projects, his work as a whole is also marked by a fondness for diversions and distractions, tangents and evasions."
The focus of Gillick' practice is evaluations of the aesthetics of with a focus on modes of production rather than consumption. He is interested in forms of social organization. Through his own writings and the use of specific materials in his artworks, Gillick examines how the built world carries traces of social, political and economic systems. As art critic Ina Blom has said,
"Artists such as Liam Gillick ... no longer address abstract art as the principle for the creation of distinct minimalist objects, but rather try to create through design spaces for open social interaction artworks whose actual use is to be constantly redefined within the situation of the exhibition – without necessarily producing relational-aesthetic models of community."Blom, Ina, "THE LOGIC OF THE TRAILER: Abstraction, Style, and Sociality in Contemporary Art", Texte Zur Kunst, March 2008, Issue 69, pp. 171-77
Central to Gillick's practice are the publications that function in parallel to his artworks. An anthology of these "Allbooks" was published by Book Works, in 2009.
The series was first shown commercially in 1991, at Karsten Schubert LimitedKarsten Schubert (ed) Henry Bond and Liam Gillick: Documents (London: Karsten Schbert Limited, 1991.) and then, in 1992, at Maureen Paley's Interim ArtMaureen Paley (ed.) On: Henry Bond, Angela Bulloch, Liam Gillick, Graham Gussin, Markus Hansen (London and Plymouth: Interim Art/Plymouth Arts Centre, 1992); also see Interim Art timeline —two of the galleries that were pioneers in the development of the YBA art movement. The series was subsequently exhibited at Tate Modern in the show Century City held in 2001,Emma Dexter, "London 1990-2001." In Iwona Blazwick (ed.) Century City: Art and Culture in the Modern Metropolis (London: Tate, 2001), p. 84. Snippet view available on Google books. and at the Hayward Gallery in the exhibition How to Improve the World, in 2006.
"Liam Gillick: Campaign", Serralves Museum of Contemporary Art, Porto, 28 – 8 January 2017
In 2018, Gillick was a member of the jury that selected Kapwani Kiwanga for the Frieze Artist Award.Grace Halio (15 February 2018), Kapwani Kiwanga Named Winner of the Frieze Artist Award ARTnews.
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