Liam Gillick — Liam Gillick

And Why Would There Be A Title?
Liam Gillick’s Discursive Topology
Nicolas Bourriaud, 2010

First published in One long walk… Two short piers… Kunst-und Ausstellungshalle der Bundesrepublik Deutschland, Bonn, Snoeck Verlag.

First of all, the personnel: the ticket clerk at the railway station who still refers to you as a ‘customer’ instead of a ‘passenger’; the employees of a large corporation and then the members of its think-tank; subcontractors; self-governing workers who decide to switch production in the factory; activists, who can’t think of anything better to do than to play the tuba for immigrant workers; the firms Ikea, Volvo, and Sony; materials, such as aluminium or glitter; finally, the cofounder of Sony himself, Masaru Ibuka; Charles Darwin’s libertarian brother, Erasmus; the American politician Robert McNamara; Robert Buttimore, etc. For an oeuvre considered to be ‘conceptual’, austere rigorous, or even sparse, Liam Gillick’s work is certainly densely populated – both by conceptual personages as well as narratives, dialogues, biographies, and landscapes.

Conceptual? Such a hasty judgement can undoubtedly be traced back to the fact that texts play an important role here and underpin the forms on show, rather like the libretto for an opera. And yet isn’t this also the case for Titian or Sandro Botticelli when one tries to understand the work and not just look at it? And isn’t this exactly the same contract, for example, that Marcel Broodthaers’ work proposes to the viewer?

A better way to access Liam Gillick’s multidimensional universe would be to examine his concept of realism within a broad historical spectrum, starting with Gustave Courbet. In order then to derive that very sense of reality he wants to describe: in this case, something essentially real, not far removed from Jacques Lacan’s definition, that is to say, a space that cannot be reduced to mere symbolisation and thereby be apprehended solely via a topology. With the aid of a formal vocabulary predicated upon minimalism and conceptual art, Gillick exposes the problem of the existential conditions for the globalised individual at the turn of the twentieth and twenty-first centuries – thereby referring with this project to comparable studies that arose in modern painting almost a century before. Gillick’s oeuvre is by no means limited to the purely ‘conceptual’, but proves to be a narrative reference work scattered with stage directions. However, as in the poems of Stéphane Mallarmé or Blaise Cendrars, and in some of Jean-Luc Godard’s films or Samuel Beckett’s plays, his protagonists congregate on empty stages or in fragmentary frameworks, thereby effecting a permanent toing and froing between the text and his topological structures that serve as supports, stages, or as recipients – a context in which the questions emerge of who determines the organisation of human society and how is this done. “The writing and the retinal work”, as Liam Gillick explains, “all deal with different aspects related to issues of compromise, strategy, negociation and renovation. The work you see in the gallery or in specific applied situations is functioning in parallel, both to itself, other similar works and to the texts I use.”¹ Parallel: another keyword. The structures, plans, images, narratives, and labelling which constitute his work are not converging lines, but, on the contrary, lines which play with their very parallelism in order to depict a landscape from which there is always something missing. But what? In view of the consideration that history, structures, and ideology form the three pillars of Gillick’s aesthetic, then one might conclude that the imaginary appears in the form of a residue or spark arising from the clash between the ideological, formal, and historical materials that mark it out. Thus, the subject matter of the work can be found in a precise location, at the invisible centre of his discourse: the end of utopia, the entropy of the imaginary, and the attempt to chart the real.

I. Social Reality in Real Time

In my view, Liam Gillick is a realist artist. By that I mean that his work ultimately represents an exact reproduction of what he actually sees; what he perceives through the immediate environment, which will be at the forefront of his exhibitions, is none other than an ideological infrastructure that conceals objects and behaviours and determines political decisions and the organisation of human social relations in time and space. Realist? This may seem paradoxical when applied to an artist whose thematic scope is readily labelled with such terms as forecast, scenario, or planning. However, these are represented in his work as an integral part of the present; the forecast and its ideological derivatives determine our actuality, in the same way that the clairvoyant propensities displayed by some characters in the novels of Philip K. Dick can also change reality – from the future, but not the other way round.

“The key to everything”, according to Gillick in his first book “Erasmus Is Late”, “is an understanding that a desire to predict the future is central to a development of a particular form of free-marketeering. A focus for progress. But a process that can happen in reverse, become mythologised or even forgotten.”² The future is encoded in the present: it is no longer a consequence of those intellectual projections that permanently determine the overall ideological framework, those shadows in Plato’s cave, whereby the action is directed by scenarios or plans and no longer by ideas. That is the world Gillick is describing – by processing structures in terms of volume, slightly shaky sketches, and scenarios that he stages with forms deriving from the economic and political ‘feuilletons’ of our time.

The ‘motif’ that Gillick tries to portray in all its various aspects – just as obsessively as Paul Cézanne tried to portray Montagne Sainte-Victoire – is Capital. In the same way that the French painter tried to free the chromatic framework – the basis for the spectacle of the world – from chaos, Gillick likewise wishes to capture, wherever it manifests, the structure of the capital that determines human agency and current imagery. Cézanne perceived Montagne Sainte-Victoire to be a crystallized architecture, and not just a tangle of vegetable and mineral matter, because he fashioned his composition declaredly out of the ‘geological sediment’ of the landscape. By contrast, Gillick proceeds from an ideological sediment, that is to say, from the most fluid and yet the most enduring elements that permeate society. If it is his intention to depict both the world we live in nowadays and the ‘masses’ in our time, then he doesn’t approach it in the way an Andreas Gursky might, duly trans- forming it and them into spectacular images that any ‘media narcissist’ can immediately assimilate. His purpose is not one of ‘revealing’ any old elements that have been suppressed by capital, inasmuch as his work has the contrasting tendency to show that everything is clearly visible for everybody – indeed, not unlike Edgar Allan Poe’s short story “The Purloined Letter”.

The ‘ideological sediment’ underlying the development of Liam Gillick’s work belongs, in equal measure, to temporality and space: the fundamental anachronism that characterises “Erasmus Is Late” – the story of a London dinner party with guests from different historical epochs – belongs to a kind of conceptual realism that insists upon the continuance or metamor- phosis of particular attitudes, ideologies, or discourses over the course of time. “Should the future help the past?” is the Gillickian ‘question par excellence’?³ The cofounder of Sony and the two libertarian thinkers from the nineteenth century, for instance, actually do have something to say to one another, and Gillick’s work can be viewed as the space of their hypothetical encounter in the shopping malls and corporate lobbies of our time. “The text is about the corrupted legacy of the Enlightenment, as well as the implications raised by the lack of a revolution in Britain in the late eighteenth century”,⁴ explains Gillick.

Comprising fragmentary speeches, elliptical or sibylline dialogues, and statements bordering on abstraction, “Erasmus Is Late” is a relief derived from the grammar of discourse surrounding planning and decisionmaking; it places the abstract logic of political agency in the foreground, always with the same nagging question: what is the form exactly of the information and theoretical protocol – both substructures of political implementation? This gives rise to the association with both the realism for which Courbet was striving during the middle of the nineteenth century and indeed his “aesthetic founded upon action, engagement, and the capacity for transformation”.⁵ “I only paint what I see”, asserted the creator of “The Painter’s Studio”, who painted whilst under threat from photography: pictorial realism, as technical reproduction of the visible, announced itself – an adventure that presaged little excitement. Courbet therefore redefined realism as an intellectual and optical confluence of the allegorical narrative and the political project. Nevertheless, he was forced into exile after the uprising of the Paris Commune in which he had attracted attention by his involvement in the destruction of the Vendôme column.

In 1855, the rebel of the art world erected the “Pavilion of Realism” after the Paris Salon had rejected his work. “The Painter’s Studio” was also exhibited there. Courbet describes his painting in a letter to his friend, the critic Champfleury: “It is the moral and physical history of my studio. Part One: these are the people who serve me, who support my ideas, who take part in my actions... On the left: the other world of everyday life, the people, misery, poverty, the wealthy, the exploited, the exploiters, people who earn their living from Death... Then there are some plaster casts leaning against the wall over there, a board and atop it, a small girl, a lamp, pots, then paintings facing the other way, a screen and then just a large, empty wall.”⁶ Parallel structures: on the one hand, the physical pavilion built by the artist and through which he controls the conditions for the exhibition of his works; on the other, the painted ‘studio’, the full title of which is “The Painter’s Studio. A Real Allegory Summarizing my Seven Years of Life as an Artist”. If it is possible to detect such a proximity to Courbet’s realism in the individual works of Liam Gillick, then it is because they function as an allegory of contemporary modes of production: the fetish materials of corporate architecture (anodized aluminium, Plexiglas, cables, etc.), more and more logos and graphics software, networking, think-tanks, and ‘project groups’. This combination of materials, styles, and processes that characterize Gillick’s universe is a veritable allegory of the contemporary working environment: it contains all the elements, yet they are isolated from one another and reduced, as though desiccated by their very presence in the critical herbarium of the exhibition. One could say that a Liam Gillick exhibition is to the world of labour what a stock cube is to soup: no sooner has one dissolved it in some ideological liquid than one finds oneself in a model office in the management era of a conference room owned by the Apple Corporation.

If the acuity of Courbet’s realism obtained from the menace of photography, Gillick’s realism is shaped more by a vague, but nonetheless acute, danger. On the one hand: transformation of the private sphere into a ‘leisure’ appurtenance of the general system of production, i.e. the extension of the factory assembly line to the private sphere; on the other, the fact that artists nowadays create their work in an atmosphere constantly beset by the threat of a complete dissolution of the public’s attention within this random spectacle, which is itself tantamount to a “Devastation of Meaning”, to quote the title of a text dedicated to Cerith Wyn Evans by Gillick. Hence, there is a tendency never to propose works that might be regarded as conclusive in any way: “I try to encourage people to work in parallel directions”, he explains, “and ultimately to accept that a work exhibited in a gallery isn’t the resolution of an idea.”⁷ This inchoate, unfinished state contributes – in ways different from those one might imagine – more to the creation of realism than to its contradiction. The Impressionists already preferred the ‘unfinished’ in painting, the visible trace of the hand at work, precisely because they were contemporaries of the Industrial Revolution and Taylorism. Gillick’s works are situated beyond the arena of packaged objects and solutions, prolonging the function of resistance and extending this arena – within a world in which even ideas, like products, have to be neatly bundled. Is it possible – taking up an expression I used at the beginning of the 1990s – to speak of an ‘operative Realism’ here? The author of “Erasmus Is Late” insists that he is fighting against “grappling with real object and idea relationships that affect personal politics; how to negotiate a city; who controls the near future; how can we understand the processes of renovation and so on.”⁸ Planning and implementation: both are the behavioural modes of the thinking of the assembly line. This has been a salient feature in Gillick’s first works, but particularly in the series of pinboards created by the artist from 1992 onwards. Simple work plans, oscillating between household and professional use – pinboards that present themselves as surfaces upon which information is collected in the form of press cuttings, notes, photographs here and there. The work doesn’t actually produce any information, but it designates the frame of information. Here, too, we are concerned with laying bare the procedural structure of human action – via an unusual approximation of artwork and the form of an office accessory, as well as through the systematic rejection of any conclusive meaning in the permanent state of openness towards the texts and parallel activities.

With reference to his first exhibition in 1989, Gillick explained that instead of producing objects he was at pains “...to develop a kind of parallel mode of action that is bound up with reflection upon the idea of cultural permission. I felt that it was not necessary to be granted permission to function as an architect or archivist.”⁹ This concept of gaining prior permission naturally alludes to power structures. Who makes the decisions? Who implements them? In the sphere of artistic production, as at every level of professional ‘qualification’, it is a matter of demanding decapitalisation, of dispersing capital as widely as possible in both concrete terms, as well as all its numerous symbolic forms. It is possible to recognise – irrespective of which Liam Gillick exhibition one is viewing – industrial structures, books, television sets, and the signs of art, but to us, these elements seem isolated from the symbolic (ideological) infrastructure which binds the cultural economy. In contrast to Damien Hirst, whose methods consist of accumulating capital within spectacular objects, Gillick exhibits forms that have previously been emptied of their symbolic content: the structures are extracted from a nonexistent text, texts allude to forms exhibited otherwise, or to future processes... Underscored by the parallel structure of the work itself, this absence designates the ‘impossible’ subject of Liam Gillick’s oeuvre: utopia, that is to say, the self-determination of human groups with regard to their future. “In view of the fact that the opposite of the possible is assuredly the real”, according to Lacan, “we must needs define the real as the impossible.”¹⁰ No need to hide an object to render it untraceable as Edgar Allan Poe teaches us in his tale of the ‘purloined letter’; for Lacan, the real is that which is absent from its rightful place, like the letter so clearly visible to all. And as it happens, the real is for Gillick the same political concept which has disappeared from the sphere of power and is ‘no longer in its place’ – to such a degree indeed that it has become a simple exhibition piece.

There is nothing then in Gillick’s artistic inventory that isn’t visible and accessible to any viewer from the contemporary world; however, there is nothing that rewards the consumer with meaning. For his work is both dark and light at the same time – or rather both in parallel. Using the yardstick of these clear principles, it is also possible to interpret his critique of the widespread tendency amongst artists toward fashionable ‘revelation’ – something he disqualifies as ‘dog-art’, in short art as a form of technology, with the express aim of exhibiting the very things that society wants to dissimulate. “Society understands something implicit in the images and narratives that are presented to it, and rejects them moment to moment as inconvenient to the continuation of the process of absorbing images and narratives. The artist in this case merely brings back those images, like a dog bringing back a stick and proudly showing it to the owner of the dog who already knows what the stick looks like because he or she was the one throwing it in the first place.”¹¹ Because he is fed up with throwing a stick that in any case never comes back, the dog owner keeps hold of it: that is the current situation and the perfect metaphor for the type of culture that has been divided into ‘high’ and ‘low’ by the dominant orthodoxy.

The master expects the return of the stick on the carpet and that is precisely what happens: thus, the culture industry is duly compensated, inasmuch as its products enjoy a second life and are initially consumed wholesale, and then in detail. Among the binary structures that have entered contemporary ideology via postmodern thinking, the compulsory subdivision of cultural production into ‘high’ and ‘low’ is certainly the worst. In this sense also, Gillick’s work strives for realism: it battles with the visible and the displayed without giving in to this brand of crypto- metaphysics that elevates the ‘concealed’ and yet is only a consumer avatar of conspiracy theory. Ultimately, that would be the meaning of a work such as “Big Conference Centre Limitation Screen” (1998): everything is before our very eyes, with the wall only filtering the light and limiting access to the room so that the work simply suggests the possibility of ‘limiting development and debate’. As Gillick summarises: “Things get truly interesting when art goes beyond a reflection of the rejected choices of the dominant culture and attempts to address the actual processes that shape our contemporary environment.”¹²

II. A Topology of Capital (Narratives and Scenarios)

What can be found within this formal universe that reflects our contempor- ary environment? Geometric bodies and surfaces, powder, texts. As we have seen, this terse vocabulary permits Liam Gillick to describe a ‘real’ that can be defined in two ways; on the one hand, as a concrete effect of the capitalist system and the sum of human relations produced by it; on the other, as a blind spot corresponding to Lacan’s formula that the real is impossible. In order to portray it, there can only be one possibility, namely that of the psychoanalyst: as the real is the very thing “that defies every form of symbolisation”, the object has to be a topology. Lacan’s doctrine was transmitted from the 1960s onwards mostly in the form of mathemes borrowed from topology. A matheme can be described as an atom of knowledge of which the primary characteristic is its transferability – the torus, the Möbius strip, Klein’s bottle, the cross-cap, and Borromean knots. Lacanian topological objects are indeed astounding and show the degree to which our thinking is dependent upon the figure of the circle that dissects space on both the inside and the outside – in the way the images we have of our own bodies incite us. Thus, Lacan’s mathemes became the preferred instruments for the disruption of the ‘real’ in psychoanalysis. The visual simplicity which Gillick embraces, the occasionally enigmatic nature of his pronouncements, and a recourse to geometry are likewise criteria that allow us to progress, in the same way that each of his works represents the matheme of an item of knowledge. Bereft of an inside and an outside, his work functions like a Möbius strip. Liam Gillick’s work – and that is the best way to sum up its overall coherence – could be defined as a topology of contemporary human relations and social structures described by means of signifying chains. And the line of discursiveness permeating Gillick’s work functions in the same way that signifying chains (that constitute the human subject) develop from their anchor points, knotting together and linking segments at regular intervals. If one places some of Gillick’s works side by side, for example, “Isolation Platform” (1999), “Big Conference Center Legislation Screen” (1998), “Post Conference Platform” (1998), and different versions of the think tanks, it is possible to witness the way a grammar develops, whose semes are codified according to behaviour types: isolating oneself, symbolising, leaving a work area, thinking, and negotiating. This system of codification or notation became particularly evident in the exhibition “A Short Text on the Possibility of Creating an Economy of Equivalence” (2005) at the Palais de Tokyo in Paris, which referred to a book entitled “Construcción de Uno” that appeared whose writing was in progress. It deals with the adventures of a group of workers who decide to run their car factory themselves after it has been closed down; on returning to their place of work, they decide to produce ideas instead of cars and initially reorganise the layout of the building, before testing out new production models along the lines of an “economy of equivalence”, whereby a unit of output corresponds to a unit of input, an economy therefore in which every human or financial investment is simply replaced without loss or alteration. The focus of the exhibition was mental topography: the mountainous landscape that the workers wanted to look at from their factory windows was created by means of an installation comprising colourful steel flowers, the jagged form of which was reminiscent of the diagram used by Peter Saville on the cover of Joy Division’s first album; the path between the factory canteen and the building was marked out in red glitter. However, once again form extended beyond the area of the representation: Gillick indeed used the “economy of equivalence”, recycling the structures used in Paris, transporting them to Madrid where they became the basis for the fittings of a bar in La Casa Encendida – constituting thus a fully- fledged, formal element.

This topography forms the basic vocabulary of a narrative line that is articulated – more than, say, in the stories – in the multivalent format of the scenario, which crops up in multiple metaphorical and concrete variants in Gillick’s work. This complex and evolutional concept surpasses the technical definition of in the lexicon of cinema, and could be defined as a narrative bundle in which a space, diverse processes, a text or a body of texts, and action or events that may unfold, can all play a part. Thus, in Gillick’s work the term scenario refers above all to a space that leaves subjects pending, a virtuality framed by forms. There is a second meaning however, which sometimes replaces it: in this case, the scenario becomes a protagonist of History, becomes one of those intellectual frameworks deployed in the struggle for control of the future; the scenario then resists planning, programme, and speculation. “You could argue that one of the great battles of the twentieth century was between speculation and planning and you could pretty much say that speculation won.”¹³ Gillick returns to this area of conflict once more when he describes “Literally No Place” (2002): “a text that sought new ways to go beyond the stifling neoliberalism of the present (the victory of speculation over planning) and to find ethical traces in the built world that surrounds us.”

There is a further analogy to Lacanian topology, namely the ‘subject’ of Gillick’s work which appears as a hole: it is then about the real. However, what the artist indefatigably strives for in his work – this self-governance of the future, of the conditions of work and existence for humans – is ceaselessly mediatised by means of prefabricated spaces (the separation screen, boxes, conference suites, bars, ceilings, etc.) that transform this quest into a linguistic and formal Odyssey. Gillick stages the desire for utopia in keeping with a complex and elastic analytic principle equal to that enacted by James Joyce for June 16, 1904 in “Ulysses”. When Leopold Bloom enters a Dublin pub in order to eat a plate of kidneys, the superimposition of this quotidian occurrence on Homer’s Laestrygonian episode produces an infinite elasticity: by describing banality as though it were an heroic epic, Joyce is disrupting the real by means of language, as though the most minute human gesture, like a molecule in the particle accelerator of literature, might resonate to infinity. A hundred different styles coalesce in Joyce’s novel, from legalese to slang and from the essay to the sermon: Bloom’s day is narrated in a thousand different ways and from a thousand different standpoints, but the real only allows itself to be lightly touched upon, only to withdraw still further.

There is a Joycean compulsion in Gillick’s work, to frame situations with a manic exactitude, situations that seem to turn with an infinitesimal degree of precision. The missing punctuation marks in some wall drawings are reminiscent of the protocol of the interior monologue used by Joyce, applied here to slogans and phrase types. A further parallel: Liam Gillick’s work is the Odyssey of politics, in the age of its dissolution in financializa- tion and the bureaucratic pile of decisionmaking. A project then project to which the artist alludes, and finally summarises, when he states that “the permanent displacement and projection of the critical moment is the political potential of the discursive”.¹⁴

III. Respective Positions of Forms and Subjects

One cannot emphasise too strongly the extent of the aesthetic damage perpetrated by Michael Fried’s texts during the 1960s; in particular, the text “Art and Objecthood”, in which he rails against the ‘theatricality’ of Minimal Art, and which today still serves to keep Greenbergian dogma artificially alive, even beyond its field of application. This theory is predicated upon an almost obsessive rejection of the anthropomorphic, of which the ultimate fantasy is the radical exclusion of every human trace outside the ‘creative process’, in favour of an aesthetic which might be described as antisituationial. “What lies between the arts is theatre”, writes Fried, is “literal” – and therefore bad. He mocks the concern regarding temporality, in place of which, in his estimation, a “continual and perpetual present” should emerge as the guarantor of “authentic art”.¹⁵ The indictments put forward by the likes of George Baker and Claire Bishop against ‘relational aesthetics’ and, in particular, against the work of Rirkrit Tiravanija and Liam Gillick would be unintelligible were it not for reference to this narrow conception of form deriving from Fried’s polemic and Clement Greenberg’s take on Modernism. During the 1990s, the Fried legacy has tried in vain to develop a progressive and activist milieu because ultimately it was characterised by true artistic positions and its alleged good intentions were repeatedly refuted by an aesthetically reactionary substrate.

Let us return, however, to the concepts of the debate: “When Bourriaud argues that ‘encounters are more important than the individuals who compose them’”, writes Bishop, “I sense that this question is (for him) unnecessary; all relations that permit ‘dialogue’ are automatically assumed to be democratic and therefore good. But what does ‘democracy’ really mean in this context? If relational art produces human relations, then the next logical question to ask is what types of relations are being produced, for whom, and why?”¹⁶ And again: “...the relations set up by relational aesthetics are not intrinsically democratic (...) since they rest too comfortably within an ideal of subjectivity as a whole and of community as immanent togetherness.”¹⁷ The accusation in advance: by definition, there is no relationship produced by an artwork without the specific content being visible, whereby the relational aspect is essentially a format, like a painting or a sculpture. The artistic situation delineated in “Relational Aesthetics” is nothing other than the historical moment in which some artists in their artistic practice have applied the principle that Karl Marx formulated in his treatise on Feuerbach, where he states that ‘human nature’ can only be defined as a system of relationships. The human aspect is nothing other than the interpersonal component, that is to say, a complete ensemble of interactions constructed by humans and implemented by institutions, systems of exchange, or production; the social aspect derives from this, just as art is not predicated upon any kind of ‘nature’ and any ‘ex-ante’ definition, but is ultimately a product of immense and ongoing negotiation, of which the productivity and meanderings in particular are embodied in Liam Gillick’s work.

During the 1990s, some critics saw things differently and theoretical opposition was particularly strong in Great Britain, where the spectacular objects produced by the ‘Young British Artists’ threatened to eclipse more sophisticated or simply more discursive practices. Even Claire Bishop – as chief spokesperson for the opposition – seems to belong to that group of observers, who, according to Gillick, are regrettably looking for aesthetic ‘resolution’ within an artwork. Bishop’s critique is based upon a restrictive conception of form, as she clearly articulates in a second text on relational aesthetics in the magazine “Artforum” in February 2006: “Such work seems to derive from a creative misreading of poststructuralist theory: rather than the interpretations of a work of art being open to continual reassessment, the work of art itself is argued to be in perpetual flux. There are many problems with this idea, not least of which is the difficulty of discerning a work whose identity is wilfully unstable.”¹⁸ One has to admit that a work with an identity perceived as ‘unstable’ actually resists any labelling and even any form of identification. It is indeed its salient characteristic which, in turn, forms the dividing line between the traditional art conceptions and practices that, in Gillick’s case, are predicated upon negotiation and the refusal of an a priori assignment of statutes and roles, under the aegis of a predictive concept of art. In response to Claire Bishop’s article, published in the same winter edition of the magazine, Gillick underscores the fact that the art criticism in question at no time mentions the texts that specifically accompany the works, and is guilty therefore of consciously mutilating them: “‘(Discussion Island)’ is not a book about open-endedness or compromise; it is a critique of these things, which would be clear if she had once mentioned this book or the other specific writings that occupy a crucial role in my artistic practice... The artwork related to the text Discussion Island formed a backdrop that allowed the book to be developed, hence the ‘Discussion Platforms’ from the late 1990s that projected a specific site for a consideration of the specific ideas involved.”¹⁹

We are dealing here with the ongoing presence of a theoretical paradox: the most vehement detractors of Liam Gillick’s art are those very people who come forward in the name of social justice and politically engaged art and they erase who particularly like to exclude visitors from exhibitions on principle – in the name of the holy autonomy of the art object. One might just as well exclude citizens from democracy in the name of the purity of the democratic idea – incidentally, something that has been implemented on several occasions throughout history. Gillick counters by stating that “...my work is like the light in the fridge, it only works when there are people there to open the fridge door. Without people, it’s not art – it’s something else – stuff in a room”.²⁰ Occasionally the artist brings “lots of people” together in this way, who, according to Tiravanija, are all part of his installation and whom he incorporates into the list of materials present in his works. An analysis of the diversity of positions offered to the viewer in the case of Gillick, Tiravanija, Philippe Parreno, or Carsten Höller would have allowed an orientation towards the definition of a genre of the ‘participant’, a concept adopted from the 1950s, which relational aesthetics has just consigned to the past in the same way that pop art historicised Marcel Duchamp’s ready-mades. Needless to say, none of the aforementioned artists has anything to do with the vague and obsolete subgenre of ‘participatory art’ to which Bishop reduces relational practices. A differentiation, as undertaken by Bishop, between “social collaboration” on the one hand, and the artists’ “conceptual and sculptural practice” on the other, is patently absurd: there isn’t a hiatus in Liam Gillick’s method – just as there isn’t one in the case of the artists mentioned in “Relational Aesthetics” separating the essence of an ‘ethical’ practice beyond form and pure aesthetics. Such a distinction seems to be predicated primarily upon an empirically untested a priori, inasmuch as even a fleeting analysis of Gillick’s practices amply shows that there is no such separation between political engagement and artistic practice. On the contrary, it is impossible to make this distinction. It seems strange when one reads that these practices, which I have called relational because they select the interpersonal sphere as a theoretical and/or practical point of reference, favour morality as opposed to form, generating a purely ‘social’ art, a seemingly ‘angelic’ ethical model, for the simple reason that they conceal real, existing antagonisms within society. This misunderstanding is all the more striking as the book’s thematic focus is the new status of form (new ‘formations’, in order to emphasise the dynamic character of the elements in question, whose area of definition embraces both bodily dispositions and temporality, to which the forms must cohere). In short, the ethical dimension of works by Rirkrit Tiravanija or Liam Gillick is not the one that counts, but rather their ability, proceeding from the interpersonal sphere, to invent innovative methods for exhibition and reflection. In this way, Gillick defines his entire oeuvre to date as “a space for the negotiation of ideas in which individuals actually control the nature of the world in which they operate.”²¹ Nevertheless, according to Gillick: “The fact is if you don’t stop changing the rules of the game, then nobody will know his own rules, then you end up with a political phenomenon.”²²

A less random view of the complexity inherent in Gillick’s thinking might have shown that the artist situates his work in the context of the major influence exerted by Felix González-Torres, who, from the late 1980s onwards, brilliantly reanimated the vocabulary of combative engagement in art. According to Gillick, González-Torres is “very important because he passed through the classic, didactic discourse that surrounded issues of identity and sexuality and created new forms of beauty that were rooted in deep and serious ideas. I learnt something from the way his work plays with the form and the way that you can loosen up to a certain extent”.²³ As in Gillick’s case, the work of the Cuban artist was underestimated at first by the critics; for a long time he was viewed merely as the artist who distributed sweets or put go-go dancing boys on the podium. In the meantime, this type of categorical misunderstanding has become paradigmatic: one deduces, from the formal apparatus to which the artist has recourse (in Gillick’s case a conference room, or a bar, a ballroom, or nightclub in that of González-Torres), a certain ‘apoliticism’ in an artist who works with entertainment or a superficially convivial ‘feel-good’ factor (Bishop). One might just as well contend that the preponderance of fruit in Paul Cézanne’s paintings is tantamount to his engagement on behalf of the cause of gardening, but, in the case of Gillick and González-Torres, the viewer doesn’t have the possibility of putting himself or herself objectively in the position of the ‘consumer of ambience’, which these analogies suggest. On the contrary, the relationship built with the viewer is precisely framed and is never sacrificed to improvisation or an ‘entertainment’ principle. According to Gillick, visitors to the exhibition “are able to go through the central bundle of ideas, through the scenarios or texts but also the visual aspect of the work, the formal links – via these different ways, quickly mount a framework so that something happens.”²⁴ In “A Note on Discussion Island: Item A001”, a work comprising a pile of grey glitter, it is clear that “the work designates a fragmented zone where it might be possible to consider the potential of discussion and compromise”. There is no sign, neither here nor anywhere else, of the allegedly atomised and Pavlovian ‘participant’ as Claire Bishop characterises the integration of the viewer into the dispositive of the exhibition. It greatly disturbs the critical discourse that the political content posited by Liam Gillick’s works radically contradicts other fashionable forms which doubtless would have the advantage of being more explicit: alongside the previously cited ‘dog-art’, other practices are worthy of mention here that – with a variety of scales, but chiefly one to one – are based upon the representation of an economic and political alienation.

By contrast, Gillick’s work doesn’t show any signs of repression, control, or ‘biopouvoir’ and doesn’t allude to either the register of anecdote or actuality, but marks the formal framework and processes that allow this repertory of political repression to function. It is a form of withheld critique – a sort of eidopolitics – which accumulates specific formats and markers of a clearly designated practice and subjugates them systematically to a battery of questions, in relation to the inscription of this practice in a global context. A work – apparently geared towards functionality – as a prototype design for “Conference Room” (exhibited in the Frankfurt Kunstverein in 1999) ultimately represents a study of the way in which the constructed environment changes behaviour, an operational model so to speak. “64th Floor Lobby Diagram” (1999) functions in the same way, but integrates additional artistic coefficients into this model that take up the dialogue between minimal art forms and corporate design.

And yet the misunderstandings surrounding Liam Gillick’s art can be traced back still further, to the first debate which took place within the Cologne art scene at the beginning of the 1990s. Liam Gillick noted subsequently that “...a tension could be perceived between those artists who advocated transparency within art (Andrea Fraser, Clegg and Guttman, and others associated with the Galerie Christian Nagel) and those who believed that a sequence of veils and meanderings might be necessary, to combat the chaotic ebb and flow of capitalism (Philippe Parreno, Dominique Gonzalez-Foerster, and others associated with the Galerie Esther Schipper). It is notable that those who were sceptical about the notion of transparency and a straightforward relationship between intentions and results tended to be from a background where a belief in transparency was historically imposed by the dominant culture.”²⁵

It is possible to discern a fault line here that has repercussions still palpable today: on the one hand, the obligatory transparency required in the kind of historical conceptual art from the 1960s; on the other, the recognition of the need to modify its parameters in order to uphold its critical impact – in a society which is far more complex than that of the 1960s. When he wrote “Art after Philosophy”, Joseph Kosuth wanted to substitute criticism with a paradigm of artistic intervention. From the 1990s onwards, it was this critical philosophy itself that needed to be overcome, via the insight that an external critical position is indeed untenable – nobody can view society from the outside, except perhaps a god... The fantasy of transparency, whose complementariness with the glass architecture of corporate buildings, with a controlled society, and with the dominant ideology in general is underscored by Gillick, is nowadays literally nothing more than an adaptation of the conceptual art of a society governed by personification, in which every product zealously states its identity. The problem of conceptual compromise now arises: are not all artists, irrespective of the way in which they engage, bound to participate in the very discourses they are subjecting to critique? The generation of artists who have chosen the ‘veils and meanderings’ in place of postconceptual transparency reacted with an assumed immersion tactic comparable with the ‘establishment line’ as propagated by Robert Linhardt, the head of the French Maoists, after May 1968. Here too, the personal account of immersion represents a political answer: the activist should work in the factories, prepare the revolution from the in- side, instead of standing at the gates of the system of production brandish- ing leaflets. More transparency, but also secrecy and clandestine behaviour; more frontal assault, yet an organ of negotiation within the system.

Far away from the supposed ‘fringes’, where the artist comments upon and judges the system from the other side, a ‘milieu’ represents, at this juncture, a space where the artist can articulate himself or herself. It is here that individual issues can be developed in successive extensions, by means of investments in different areas, and through collaborations with groups of people from heterogeneous disciplines. Liam Gillick has established himself in this space – at the heart of economic dominance – and duly installed his parallel activities here.

_{1. Liam Gillick, “The Wood Way”, exh. cat. The Whitechapel Gallery (London, 2002), p. 81. 
2. Liam Gillick, “Erasmus Is Late” (London, 1995), p. 39. 

3. Liam Gillick, “Five or Six” (New York, 1999), pp. 27–43. 

4. Liam Gillick, ‘Contingent Factors: A Response to Claire Bishop’s  “Antagonism and Relational Aesthetics”’, “October” 115 (Winter 2006), p. 102. 

5. Catherine Strasser, “Le Temps de la Production”, École des Arts Décoratifs  de Strasbourg (1997), p. 26. 

6. Ibid., p. 17. 

7. Liam Gillick in conversation with Eric Troncy, “Documents sur l’art” 11 (1997–98). 

8. Liam Gillick, (cf. note 1), p. 18. 

9. Liam Gillick in conversation with Hans-Ulrich Obrist, Hans Ulrich Obrist,  “Conversations”, vol. 1 (Paris, 2009), p. 283. 

10. Cf. Jacques Lacan, “The Seminar: Book XI: The Four Fundamental Concepts  of Psychoanalysis”, 1964, trans. Alan Sheridan (London, 1977). 

11. Liam Gillick, “Proxemics: Selected Writings” (Zurich, 2007), p. 226. 

12. Liam Gillick, (cf. note 4), p. 100. 

13. Liam Gillick, (cf. note 1), p. 17. 

14. Liam Gillick, “Hermes Lecture” (’s-Hertogenbosch, 2008) p. 28. 

15. Michael Fried, ‘Art and Objecthood’, “Artforum” 10 (Summer 1967), p. 12–23. 

16. Claire Bishop, ‘Antagonism and Relational Aesthetics’, “October” 110  (Autumn 2004), p. 65. 

17. Ibid., p. 66. 

18. Ibid., p. 52. 

19. Liam Gillick, (cf. note 11), p. 103. 
20. Liam Gillick, “Renovation Filter: Recent Past and Near Future”,  exh. cat. Arnolfini (Bristol, 2000), p. 16. 
21. Conversation with Hans Ulrich Obrist, (cf. note 8), p. 290. 
22. Ibid., p. 288. 
23. Liam Gillick, (cf. note 1), p. 18. 
24. Conversation with Hans Ulrich Obrist, (cf. note 8), p. 290. 
25. Liam Gillick, (cf. note 11), p. 106.}

Liam Gillick
Born 1964, Aylesbury, U.K.
Lives and works in New York.

Liam Gillick is a New York based artist known for contributions in sculpture, video, architecture and text. His work focuses on contemporary management of labor, time, and aesthetics extended through a distinctive conception of exhibition as a medium in its own right. His work is divided between abstraction based on social and political structures of the present and texts, films and graphics that often appear to contradict and comment upon the apparent clarity of his structures. Rather than earlier reliance upon geometry, systems and subjective visions Gillick’s abstract works are derived from the secondary structures emerging from an information based society of renovation, negotiation and discourse. A theorist, curator and educator as well as an artist, his wider body of work includes published essays and texts, lectures, curatorial and collaborative projects. Gillick’s work reflects upon conditions of production in a post-industrial landscape including the aesthetics of economy, labour and social organization. His work exposes the dysfunctional aspects of a modernist legacy in terms of abstraction and architecture when framed within a globalized, neo-liberal consensus, and extends into structural rethinking of the exhibition as a form. He has produced a number of short films since the late 2000s which address the construction of the creative persona in light of the enduring mutability of the contemporary artist as a cultural figure. Margin Time (2012) The Heavenly Lagoon (2013) and Hamilton: A Film by Liam Gillick (2014). The book Industry and Intelligence: Contemporary Art Since 1820 was published by Columbia University Press in March 2016.   

Gillick’s work has been included in numerous important exhibitions including documenta and the Venice, Berlin, Shanghai and Istanbul Biennales - representing Germany in 2009 in Venice. Solo museum exhibitions have taken place at the Museum of Contemporary Art in Chicago, the Museum of Modern Art in New York and Tate in London. Gillick’s work is held in many important public collections including the Centre Pompidou in Paris, the Guggenheim Museum in New York and Bilbao and the Museum of Modern Art in New York. Over the last twenty five years Gillick has also been a prolific writer and critic of contemporary art – contributing to Artforum, October, Frieze and e-flux Journal. He is the author of a number of books including a volume of his selected critical writing. High profile public works include the British Government Home Office (Interior Ministry) building in London and the Lufthansa Headquarters in Frankfurt. Throughout this time Gillick has extended his practice into experimental venues and collaborative projects with artists including Philippe Parreno, Lawrence Weiner, Louise Lawler, Adam Pendleton and the band New Order, in a series of concerts in Manchester, Turin and Vienna.

SOLO EXHIBITIONS

2025
The Sleepwalkers, Maureen Paley, London.

2024
Barker Gillick and Jones, Air de Paris, Paris.
Fact Structures Amount Structures Language Structures, Casey Kaplan, Berlin.
Fact Structures Amount Structures Language Structures, Esther Schipper, Berlin.
Fact Structures Amount Structures Language Structures, KIN, Brussels.

2023
The Alterants, Gallery Baton, Seoul.
Mountains? What Mountains?, Meyer Kainer, Vienna.
Filtered Time, Pergamonmuseum, Berlin.

2022
A Variability Quantifier, Fogo Island Arts / National Gallery of Canada.

2021
Four Steps and a Leap, Blanc International Contemporary Art Space, Beijing.
The Knot of Which I Speak Cannot be Knotted, Gallery Baton, Seoul.
Kinetic Energy of Rigid Bodies, Replace Rubens, Sankt Peter, Köln.
The Work Life Effect, Gwangju Museum of Art, Gwangju.

2020
It should feel like unicorns are about to appear a.k.a. Half Awake Half Asleep, Alfonso Artiaco, Naples.
Horseness if the Whatness of Allhorse, Taro Nasu, Tokyo.
Redaction, Casey Kaplan, New York.

2019
The Night of Red and Gold, Maureen Paley, London.
Stinking Dawn, Gelatin and Liam Gillick, Kunsthalle Wien.
Standing on Top of a Building: Films 2008-2019, Madre Museum, Naples.
Some significant equations, Potter Museum of Art, Melbourne.

2018
A Depicted Horse is not a Critique of a Horse, Kerlin Gallery, Dublin.
Liam Gillick Adam Pendleton Adam Pendleton Liam Gillick, Eva Presenhuber, New York.
There Should be Fresh Springs... Gallery Baton, Seoul.

2017
The Lights are No Brighter at the Centre, CAC Vilnius.
Were People This Dumb Before TV? Grafische Arbeit 1990-2016, Esther Schipper, Berlin.
Extended Soundtrack for a Lost Production Line: Ton und Film, Eva Presenhuber, Zurich.

2016
Stardust Expression, Taro Nasu, Tokyo.
The Red Wood Pigeon Meets some Meetings, Air de Paris, Paris.
What’s What in a Mirror, Dublin City Gallery, The Hugh Lane, Dublin.
Phantom Structures, Casey Kaplan, New York.
Campaign, Muséo Serralves, Porto.

2015
The Thought Style Meets the Thought Collective, Maureen Paley, London.
Liam Gillick, Australian Fine Arts, Brisbane.
Four Developments and a Thought Collective, Alfonso Artiaco, Naples.
All-Imitate-Act, Stedelijk Museum/Holland Festival, Amsterdam.
1 Rue Gabriel Tarde, Sarlat-la-Caneda, Dordogne, Galerie Micheline Szwajcer, Brussels.

2014
From 199C to 199D, Magasin Centre national d’art contemporaine, Grenoble.
Revenons à nos moutons, Esther Schipper, Berlin.
Complete Bin Development, Hans Mayer, Düsseldorf.

2013
Vertical Disintegration, Taro Nasu, Tokyo.
November 1 – December 21, Liam Gillick and Louise Lawler, Casey Kaplan, New York.
Liam Gillick, The Contemporary, Austin.
From Fredensborg to Halen via Loch Ruthven Courtyard Housing Projections, HICA, Dalcrombie, Inverness-shire.
For the doors that are welded shut, Kerlin Gallery, Dublin.
Five Structures and a Shanty, Gallery IHN, Seoul.

2012
Four Propositions Six Structures, Alfonso Artiaco, Naples.
Margin Time, Maureen Paley, London.
From 199A to 199B: Liam Gillick, Hessel Museum of Art, Bard College.
Scorpion and und et Felix, Casey Kaplan, New York.
Agreements, McNamara and Lead Times, Taro Nasu, Tokyo.
Scorpion or Felix, Galerie Eva Presenhuber, Zurich.

2011
Sit on the machine, Micheline Szwajcer, Antwerp.
Sit in the machine, Air de Paris, Paris.
A game of war Structure, IMMA, Dublin.
A Syntax of Dependency: Liam Gillick and Lawrence Weiner, Mukha, Antwerp.

2010
1848!!!, Esther Schipper, Berlin.
One long walk… two short piers, KAH, Bonn.
Seven Structures and a large vodka soda, Kerlin Gallery, Dublin.
Liam Gillick: Films, Fort Worth Contemporary Art.
Discussion Bench Platforms/A “Volvo” Bar + Everything Good Goes, Casey Kaplan, New York.
Everything Good Goes, Meyer Kainer, Vienna.

2009
Two Short Plays, Eastside Projects, Birmingham.
Wall diagrams from the 1990s and early 2000s, House of Art, Budweis.
Executive 2 litre GXL, MAK, Vienna.
Three Perspectives and a Short Scenario, Museum of Contemporary Art, Chicago.
How are you going to behave? A kitchen cat speaks, German Pavillion, Venice Biennale.

2008
Three Perspectives and a Short Scenario, Kunstverein, München.
The State Itself Becomes a Super Whatnot, Casey Kaplan, New York.
Fractional Factories in the Snow, Air de Paris, Paris.
Three Perspectives and a Short Scenario, Kunsthalle, Zurich.
Three Perspectives and a Short Scenario, Witte de With, Rotterdam.

2007
The state/commune itself becomes a super state/commune, Micheline Szwajcer, Antwerp.
The commune itself becomes a super state, Corvi-Mora, London.
Weekend in So Show, The Lab, Belmar.

2006
The State itself becomes a super commune, Esther Schipper, Berlin.
Literally Based on HZ, Kerlin Gallery, Dublin.
Briannnnnn & Ferryyyyyy, Liam Gillick and Philippe Parreno, Kunsthalle Zurich.
We are Medi(evil), Angela Bulloch and Liam Gillick, Cubitt, London.

2005
As you approach the edge of town the lights are no softer than they were in the centre, Casey Kaplan, New York.
A short text on the possibility of creating an economy of equivalence, Casa Encendida, Madrid.
McNamara Motel, CAC Malaga, Spain.
Factories in the snow, Meyer Kainer, Vienna.
Presentism, Corvi-Mora, London.
Another 2004 Again, Baltimore Museum of Art.
A short text on the possibility of creating an economy of equivalence, Palais de Tokyo, Paris.
222nd Floor, Eva Presenhuber, Zurich.

2004
Underground (Fragments of Future Histories), Galerie Micheline Szwajcer, Antwerp.
Övningskörning (Driving Practice), Milwaukee Art Museum.
Liam Gillick, Aspen Art Museum, Aspen.
A Group of People, Air de Paris, Paris.
Construccion de Uno, Javier Lopez, Madrid.

2003
A Film, A Clip and a Documentary, (with Sean Dack), Corvi-Mora, London.
Projects 79: Literally, Museum of Modern Art, New York.
Communes, Bars and Greenrooms, The Powerplant, Toronto.
Exterior Days, Casey Kaplan, New York.
Por Favor Gracias de Nada (with Gabriel Kuri), Kurimanzutto, México City.
…Punctuated Everydays, Max Hetzler, Berlin.
Hills and Trays and…, Schipper & Krome, Berlin.

2002
Liam Gillick, Rüdiger Schöttle, Munich.
Light Technique, Galerie Meyer Kainer, Vienna.
The Wood Way, The Whitechapel Gallery, London.

2001
Annlee You Proposes, Tate Britain, London.
Pain in a Building, Base Progetti per l’arte, Florence.
Liam Gillick, Corvi-Mora, London.
Liam Gillick, Javier Lopez, Madrid.
Firststepcousinbarprize Hauser & Wirth & Presenhuber, Zurich.

2000
Liam Gillick, Casey Kaplan, New York.
Renovation Filter, Recent Past and Near Future, Arnolfini, Bristol.
Literally No Place, Air de Paris, Paris.
Woody, CCA Kitakyshu.
Schmerz in Einem Gebäude, Fig 1, London
Consultation Filter, Westfälischer Kunstverein, Münster.
Liamm Gilllick, Schipper und Krome, Berlin.
Liam Gillick, Galleri Charlotte Lund, Stockholm.
Applied Complex Screen, Hayward Gallery, London.

1999
“David”, Frankfurter Kunstverein, Frankfurt.
Liam Gillick, Rudiger Schottle, Munich.
Liam Gillick, Kunsthaus Glarus, Glarus.

1998
Liam Gillick, c/o Atle Gerhardsen Oslo.
When do we need more tractors?, Schipper & Krome, Berlin.
Révision: Liam Gillick, Villa Arson, Nice.
Liam Gillick, Robert Prime, London.
Big Conference Center, Orchard Gallery, Derry.
When Purity Was Paramount, British Council, Prague.
Up on the twenty-second floor, Air de Paris, Paris.
Liam Gillick, Kunstverein in Hamburg.

1997
Reclutamento!, Galleria Emi Fontana, Milan.
McNamara Papers, Erasmus and Ibuka Realisations, The What If? Scenarios, Le Consortium, Dijon.
Another Shop in Tottenham Court Road, Transmission Gallery, Glasgow.
A House in Long Island, Forde Espace d’art contemporain, L’Usine, Geneva.
Discussion Island - A What if? Scenario Report, Kunstverein, Ludwigsburg.
Discussion Island, Basilico Fine Arts, New York.

1996
Documents (with Henry Bond), Schipper & Krome, Köln.
The What If? Scenario, Robert Prime, London.
Liam Gillick, Raum Aktuelle Kunst, Vienna.
Erasmus is Late ‘versus’ The What If? Scenario, Schipper & Krome, Berlin.

1995
Documents (with Henry Bond), Kunstverein ElsterPark, Leipzig.
Part Three, Basilico Fine Arts, New York.
Ibuka!, Galleria Emi Fontana, Milan.
Ibuka! (Part 2), Kunstlerhaus, Stuttgart.
Ibuka! (Part 1), Air de Paris, Paris.

1994
Liam Gillick, Interim Art, London.
Documents (with Henry Bond), Ars Futura, Zurich.
McNamara, Schipper & Krome, Köln.

1993
An Old Song and a New Drink (with Angela Bulloch), Air de Paris, Paris.
Documents (with Henry Bond), CCA, Glasgow.

1992
McNamara, Hog Bikes and GRSSPR, Air de Paris, Nice.

1991
Documents (with Henry Bond), Gio’ Marconi, Milan.
Documents (with Henry Bond), A.P.A.C., Nevers.
Documents (with Henry Bond), Karsten Schubert Ltd, London.

1989
84 Diagrams, Karsten Schubert Ltd, London.

AWARDS

2022 31st AACA Award 2nd Prize, Japan Architecture Arts and Crafts Association.
2019 New York Design Awards Gold, Olympic Tower, New York.
2008 Vincent Award Nomination, Stedelijk Museum, Amsterdam.
2005 ABB LEAF Awards, Home Office, London.
2005 RIBA Award, Home Office, London.
2002 Turner Prize Nomination, Tate, London.
1998 Paul Cassirer Kunstpreis, Berlin.

PUBLIC COLLECTIONS

The Albright Knox Museum, Buffalo, New York
Arts Council Collection, London, UK
Baltimore Museum of Art, Baltimore, Maryland
British Council Collection, London, UK
Centre Georges Pompidou, Paris, France
Stedelijk Museum, Amsterdam, Netherlands
Essl Museum of Contemporary Art, Vienna, Austria
Government Art Collection, London, UK
FER Collection, Laupheim, Germany
LUMA Foundation, Arles, France
Fondazione Sandretto Re Rebaudengo, Torino, Italy
Le Fonds National d’Art Contemporain (FNAC), France
National Gallery of Canada
City of Gernika, Basque Country
Ministry of Interior, Netherlands
Village of Roddino, Cueno, Italy
Foundation Centro de Arte de Salamanca, Salamanca, Spain
Fundación Jumex, Ecatepec, Mexico
The Hirshhorn Museum and Sculpture Garden, Washington D.C. USA
Lenbachhaus Museum, Munich, Germany
Moderna Museet, Stockholm, Sweden
Musée des Beaux Arts et d’archéologie, Besançon, France
Museum der Angewandten Kunst (MAK), Vienna, Austria
The Museum of Contemporary Art, Chicago, USA
The Museum of Modern Art, New York, New York, USA
The Solomon R. Guggenheim Museum, New York, USA
The Guggenheim Foundation, New York, USA
Tate Modern, London, UK
Walker Art Center, Minneapolis, USA
Guggenheim Museum, Bilbao, Spain
The National Museum of Art, Osaka, Japan
European Central Bank, Frankfurt
City of Okayama, Japan
City of Lund, Sweden
Museum Sztuki, Lodz, Poland
GAM - Galleria Civica d’Arte Moderna e Contemporanea di Torino, Italy
MUDAM, Luxembourg
FRAC Bourgogne, France
FRAC Corsica, France
FRAC Languedoc-Rousillion, France
FRAC Nord Pas de Calais, France
Frac Grand Large – Hauts-de-France
FRAC Poitou Charentes, France
Le Consortium, Dijon, France
Dib Bangkok Museum of Contemporary Art
Hessel Museum, Bard College, USA
MUMOK, Vienna, Austria
Fondacion Rac, Galicia, Spain
Centro Galego de arte contemporanea, Santiago de Compostela, Spain
Kunstmuseum, Wolfsburg , Germany
MAMCO, Geneva, Switzerland
Austin Contemporary, Austin, Texas
Southampton City Art Gallery, UK
Miami Art Museum, USA
KiCo Stiftung, Germany
Contemporary Arts Society, London
Foundation Centro de Arte de Salamanca, Spain
Ludwig Museum, Köln, Germany
Daimler Collection, Berlin
Leeum Museum, Seoul, Korea
Istanbul Modern, Turkey
Museo Serralves, Porto, Portugal
IMMA, Dublin, Ireland
Dublin City Gallery, The Hugh Lane, Dublin
Rhode Island School of Design, Providence
Musée des Beaux Arts et d’archéologie, Besançon, France
Sansab Museum of Contemporary Art, Bangkok, Thailand
Arario Museum, Seoul, Korea
Qatar Museums Public Art Program
Madre Museum, Naples, Italy
Matera-Basilicata Foundation

SELECTED MONOGRAPHS

2023 Filtered Time: Reflections on the Pergamonmuseum, Berlin, Pergamonmuseum.
2022 Farbe ist Program, Bonn, Bundeskunsthalle.
2021 The Work Life Effect, Gwangju, Gwangju Museum of Art.
2020 Standing on Top of a Building: Films 2008-2019, Naples, Madre Museum.
2019 Half a Complex, Berlin, Hatje-Cantz.
2016 Campaign, Porto, Muséu Serralves.
2015 From 199A to 199D, Zurich, CNAC Magasin, Bard College, JRP-Ringier
2011 A Syntax of Dependency, Mousse.
2010 Liam Gillick: One Long Walk, Two Short Piers, Köln, Snoeck Verlag
2009 Meaning Liam Gillick, MIT-Press
2007 Lilian Haberer, Factories in the Snow, JRP-Ringier
2005 McNamara Motel, Malaga, CAC
2002 The Wood Way, London, Whitechapel Gallery.
2000 Liam Gillick, Köln, Oktagon.

ARTISTS BOOKS

2022 ‘A Max De Vos’, Gent, Borgerhoff & Lamberigts.
2018 There Should be Fresh Springs... Seoul, Gallery Baton.
2016 Development Okayama Art Summit, Okayama.
2016 Campaign, Porto, Museu Serralves.
2016 Industry and Intelligence, New York, Columbia University Press.
2010 Memoirs of the twentieth century/ Prevision: Should the future help the past, New York, Halmos.
2011 Pourquoi Travailler, Paris, Three Star Books.
2010 Why Work?, Auckland, Artspace.
2009 Allbooks, Book Works, London.
2008 Maybe it would be better if we worked in groups of three, Hermes Lecture.
2008 Ein Rückblick aus dem Jahre 2000 auf 1997 (with Matthew Brannon), Leipzig, Galerie für Zetigennössische Kunst.
2007 Proxemics: Selected Writing 1988-2006, JRP-Ringier.
2006 Le Montrachet, Liam Gillick and Heather McGowan, Los Angeles, Rocky Point Press.
2006 Malaga – An album of Covers, Liam Gillick and M/M, Paris, Brussels, Two Star Books.
2004 Anna Sanders Films Identity Spot, Liam Gillick and Sean Dack, Onestar Press, Paris.
2004 Underground (Fragments of Future Histories), Brussels/Dijon, Les maître des forme contemporains, Les Presses du Réel.
2002 Literally No Place, London, Book Works.
1999 Five or Six, New York, Lukas & Sternberg.
1998 Ein Rückblick aus dem Jahre 2000 auf 1997 (with Matthew Brannon), Leipzig, Galerie für Zetigennössische Kunst.
1997 Discussion Island/Big Conference Centre, Derry/Ludwigsburg, Orchard Gallery, Kunstverein.
1995 Ibuka!, Stuttgart, Kunstlerhaus.
1995 Erasmus is Late, London, Book Works.
1991 Technique Anglaise (with Andrew Renton), London, One-Off Press/Thames & Hudson

LIVE EVENTS

5/2018 ∑(No,12k,Lg,18Wfw) So it goes... New Order and Liam Gillick, Wiener Festwoche, Vienna, 2018
5/2018 ∑(No,12k,Lg,18Ogr) So it goes... New Order and Liam Gillick, Ogr, Torino, 2018
6/2017 ∑(No,12k,Lg,17Mif) So it goes... New Order and Liam Gillick, Manchester International Festival 2017
2006 Construcción de Uno, Tate, London.

RECORDED WORKS

2019 New Order + Liam Gillick, ∑(No,12k,Lg,17Mif) So it goes...
2016 Oh! Wolfgang, Good Grief! Brigade Commerz Editions.
2010 Liam Gillick and Corinne Jones, Brigade Commerz.
2005 Los Angeles, Semishigure, Kleve.
2003 Liam Gillick/Rob Mazurek, En/Off, Kleve.
2002 Ekkehard Ehlers & Joseph Suchy/Liam Gillick, En/Off, Kleve.
2002 Capital, Semishigure, Kleve. (CD)
2002 Wood (part of Void), CCA, Kitakyushu.
2001 Liam Gillick Meets Scott Olson in Japan, Whatness, Frankfurt.
1995 Stoppage, CCC Tours/Villa Arson, Nice.

COLLABORATIVE AND CURATED PROJECTS

2023 Vilnius Biennial of Performance Art 2023, (with Anton Vidokle), Vilnius.
2022 Stinking Dawn, Gelitin and Liam Gillick, movie release.
2022 Farbe ist Programm, Bundeskunsthalle, Bonn.
2021 Prima Che Il Gallo Canti, (with Tom Eccles and Mark Rappolt), Palazzo Re Rebaudengo, Guarene.
2019 Stinking Dawn, Gelatin and Liam Gillick, Kunsthalle Wien.
2017 Like a Moth to a Flame (with Tom Eccles and Mark Rappolt), OGR, Sandretto Foundation, Torino.
2017 Schreibtischuhr, Galerie Meyer Kainer, Vienna.
2016 Development, Okayama Art Summit, Okayama.
2016 Cool Your Jets (with Jonathan Monk), Quartz Studio, Milan.
2014 Confessions of the Imperfect, 1848-1989-Today, Van Abbemuseum, Eindhoven.
2014 International Company of Wagons Lit etc. etc., (with Rachel Harrison), Galerie Meyer Kainer, Vienna.
2014 Solaris Chronicles (with Philippe Parreno), Luma Foundation, Arles.
2013 Adam Curtis, The desperate edge of now, Home Workspace Program, Beirut.
2013 The Lie and the Powerpoint, Falke Pisano, Liam Gillick, Benoit Maire, Shanaynay, Paris.
2012 To the Moon Via the Beach (with Philippe Parreno), Luma Foundation, Arles.
2012 Adam Curtis, The desperate edge of now, e-flux, New York.
2010 A Guiding Light, (with Anton Vidokle), Performa, New York
2010 Liam Gillick and Gareth Long, Who invented the desk, The Apartment, Vancouver.
2009 The one hundred and sixty-third floor, Liam Gillick curate the collection, MCA Chicago
2008 The Night School, The New Museum, New York.
2007 Il Tempo del Postino, Manchester Festival.
2006 unitednationsplaza, Berlin.
2005 Edgar Schmitz, ICA, London.
2005 Briannnnnn & Ferryyyyyy (with Philippe Parreno), Vamiali’s, Athens.
2004 Rider: Law and Creativity Briannnnnn & Ferryyyyyy (with Philippe Parreno), Konsthall, Lund.
2003 Telling Histories, Kunstverein München.
2002 Dark Spring (with Nicolaus Schafhausen and Markus Weisbeck), Stiftung Ursula Blickle, Kraichtal-Uö.
2001 Dedalic Convention/Du und Ich (with Annette Kosak and Gary Webb), Salzburger Kunstverein, Salzburg.
2001 Dedalic Convention (with Annette Kosak), MAK, Vienna.
2000 itsapoorsortofmemorythatonlynunsbackwards, Goldsmiths College, Creative Curating, London.
1999 Oldnewtown, Casey Kaplan, New York.
1998 The Trial of Pol Pot, (with Philippe Parreno), Le Magasin, Grenoble.
1996 Everyday Holiday (with Gabriel Kuri), Le Magasin, Grenoble.
1995 Stoppage, Villa Arson, Nice.
195 Stoppage, CCC, Tours.
1995 The Moral Maze (with Philippe Parreno), Le Consortium, Dijon.
1995 Faction, Royal Danish Academy of Arts, Copenhagen.
1992 Instructions, Gio’ Marconi, Milan.
1992 The Speaker Project, ICA, London.

PUBLIC PROJECTS

2023
However Many Times We Ran The Model The Results Were Pretty Much The Same (with Hito Steyerl), Roddino.
Elevated Distribution, Claridges Hotel, London.

2022
Patient People, Education Room, Kunstmuseum, Wolfsburg.
Luma Arles Signage System, Luma Arles.
Oriented Discussion Platforms, Luma Arles.
Laguna Gloria, Luma Arles.

2021
Take! Read! Glass!, Cloud Art Space, Seoul.

2019
Folded Extracted Personified, Museum of Islamic Art Park, Qatar Museums, Doha.

2018
Triangulated Passage Work, Olympic Tower, New York.
Faceted Development, Okayama.

2016
Structured Expansion, Bard College CCS Archive, Annandale on Hudson.
Paris Climate Change, Gare du Nord, Paris.
European Central Bank, Frankfurt.
JTI, Geneva.

2015
Pressehaus Ringier, Zurich.
Incised Verification Structure, Kristallen, Lund, Sweden.
Maharam, Los Angeles.

2014
Directed Development Array, Leeum, Seoul, Korea.

2013
Raised Laguna Discussion Platform (Job 1073), The Contemporary, Austin.
Coniston Institute Library, Coniston.
Astra Factory, Gernika, Basque Region, Spain.

2012
Swiss Re, Zurich.

2011
Maharam, Chicago.
La aparente union del cielo y la tierra, Locust Projects, Miami.
Centene Plaza, St. Louis, Mo.

2010
Aix Pavilion, Chateau la Coste, Aix en Provence.

2009
Fairmont Pacific Rim, Vancouver

2008
Dynamica Building, Guadalajara
Cambridge Library, Cambridge MA.
Full scale model of a social structure for a plaza in Anyang, Anyang, Korea.
Factory in the Snow, Tierra y ammonia, Guadalajara.

2007
Lufthansa, Frankfurt

2006
Maharam, Chicago.

2005
BSI, Lugano, Switzerland.
Dior Homme, Shanghai (with Sean Dack).

2004
Swiss Re, London.
Museum in Progress, Rolling Boards, Vienna.

2003-5
The Home Office, London.

2003
Headache, phone card, soda, donuts, stereo, London Underground/Frieze Art Fair, London.
Regents Place - British Land, London.
Ft. Lauderdale/Hollywood International Airport.

2002
Olnick Corporation, New Jersey.
Mercat, Alicante.
Kirchdorf School.
Alcobendas, Madrid.
Dekabank, Frankfurt.

2001
Telenor, Oslo.

1999
BIC Technologiezentrum, Leipzig.

GROUP EXHIBITIONS

2024
Kinship, KIN, Brussels.
Coalescence: Happenstance With All Due Intent: A retrospective of sorts, Shimmer, Rotterdam.
The Best, The Rest, and The Unexpected Guests, Bechtler Stiftung, Uster.
Parrot Pavilion, Triënnale Kortrijk: “After Paradise”, Begijnhof Park, Kortrijk.
Pansori: A soundscape of the 21st century, (curated by Nicolas Bourriaud), 15th Gwangju Biennale.
The Fuel Commission, Dallas.
Working title: The Workers, Haugar Art Museum, Tønsberg.
Sculpture in the Garden, Landcraft Foundation, Mattituck.
John Ruskin Wine Bar, Alter Schlachthof, Pforzheim.
Survival in the 21st Century, Deichtorhallen, Hamburg.
Further Away, 10th Mardin Biennial, Mardin.
24/7: Work between meaning and imbalance, Kunsthaus Graz.
No Ghost Just A Shell, Buk-Seoul Museum of Art.
Kim Hyun Seok, Liam Gillick, Lee Deok Young, Jackson Hong, Chapter II, Seoul.

2023
A Blank Posters Show, La oficina de la nada (the office of nothingness), Universidad Andrés Bello, Santiago de Chile.
14th Shanghai Biennale: Cosmos Cinema, Power Station of Art, Shanghai.
TEES 2023, Rogue Project Space, Manchester.
Vilnius Biennial of Performance Art 2023, (with Anton Vidokle), Vilnius.
Brilliant Cut, Gallery Baton, Seoul.
ΔΕΚΑ, K-Gold Temporary Gallery, Agia Paraskevi.
Teamwork. 30 Years of CGAC, Gaiás Centre Museum, Santiago de Compostela.
stick n poke, FOMO, Zurich.
Stinking Dawn, Stadtkino im Künstlerhaus, Vienna.
Sculpting the Space, Taro Nasu, Tokyo.
The Art of Light, Elle Decor, Salone del Mobile, Fiermilano, Milan
Systemic Love, CAPC Bordeaux.
Homo Ludens, Über Das Spiel Der Kunst, Woods Art Institute, Hamburg.
Stinking Dawn, Le Fifa, Montreal.
Stinking Dawn, O’Flaherty’s, New York.
Stayin’ Alive, BPS22, Charleroi, Belgium.

2022
No one is bored, CCS Bard Galleries, Annandale-on-Hudson.
Broken Music Vol. 2—70 Years of Records and Sound Works by Artists, Hamburger Bahnhof, Berlin.
Social Photography X, Carriage Trade, New York.
Leer la imagen. Ver la escritura Geometrías lineales en Polígrafa Obra Gráfica, Centro Cultural Cordón.
La Pista 500, Pinacoteca Agnelli, Turin.
World Weather Network, Art Sonje Center & (TOGETHER)(TOGETHER), Seoul.
Singapore Biennale 2022, Natasha is joined by many other names, Singapore.
Stars Don’t Stand Still in the Sky: A Tribute to Lawrence Weiner, Regen Projects, Los Angeles.
Sculpture Group Show, Eva Presenhuber, New York.
Framing Spaces, Einbuch.haus, Berlin.
As Long as it Lasts, Galerie Mai 36, Zurich.
The Promise of Ruin(s) Chpt 2 Misfortunes of the turbo-tasking, The Balcony, The Hague.
Indexing the Nature: From Near and Far Away, Gallery Baton, 9 Cork Street.
Zusammen zeichnen, 201 Cadavre Exquis, Museum in Bellpark, Kriegs.
Les Pigeons du square (d’après et avec Jean Painlevé), Air de Paris.
Cinétique ! La sculpture en mouvement, l’Espace Monte-Cristo, Fondation Villa Datris.
A A TO T V (CLADINORO), No Show Space, London.
Project Palace: A Centenary, Bozar, Brussels.
Frame (traced), CCS, Hessel Museum of Art, Annandale-on-Hudson.
Group Exhibition, Taro Nasu, Tokyo.
Australian Fine Arts, Rocking Horse Records, Brisbane.
Myths and dreams from Elgiz Collection, Arkas Art Center and Elgiz Museum, Izmir.

2021
A Collection without Boundaries, GAM Galleria Civica d’Arte Moderna e Contemporanea, Torino.
Now or Never – 50 Years LBBW Collection, Stuttgart.
Social Photography IX, carriage trade, New York.
En la casa de Marquès, Casa Museo Can Marquès, Esther Schipper.
Abstraction/Simulation, Centro de Arte Contemporáneo de Aínsa.
Ora et Legere (Pray and Read), Broumov Monastery.
Cinema le Klingon, Air de Paris.
Of Walking in Ice, fotograf gallery, Prague.
Utopia in Crisis, Bauhaus-Universität Weimar.
x_minimal, Cassina Projects, Milan.
Arcimboldo Face to Face, Centre Pompidou-Metz.
Sculpture en fête!, Fondation Villa Datris, Isle-sur-la-Sorgue.
Catastrophe and Recovery, MMCA, Seoul.
Ballard in Albisola, Casa Jorn, Albisola.
Pompeii Commitment. Materie archeologiche / Archaeological Matters, Archaeological Park of Pompeii.
Extended Minimalism 2.0, Galeria Javier Lopez & Fer Frances, Madrid.
Collezione Ghigi, Museo Licini, Ascoli Piceno.
Dependent Objects, MCA Chicago.
Collaborative Group Show between Taro Nasu & Esther Schipper, Taro Nasu, Tokyo.
Helga de Alvear Collection, Helga de Alvear Foundation Visual Arts Center, Cáceres.
Crocodile Cradle, Peer, London.
Mise en Scène, Shoot the Lobster, New York.
Age of You, Jameel Arts Centre Dubai.
Stoa169, Polling.

2020
Fuck You Be Nice, Air de Paris, Paris.
Around the Day in Eighty Worlds, CAPC, Bordeaux.
Your Floorplan, curated by Hyunjoo Byeon, thefloorplan.net
All in One, Eva Presenhuber, Zurich.
A Little After the Millennium, Gallery Baton, Seoul.
Do it, Museum of Fine Arts at Florida State University, Tallahassee.
Wunderkammer Cafe, Mfc-Michele-Didier, Paris.
Do it, A4 Contemporary Arts Center, Chengdu, China.
The LSD Portfolio, Georg Kargl, Vienna.
2020, Barbara Gladstone, New York.
gesture, form, technique V, Friday, Gallery-Sign, Tokyo in cooperation with Taro Nasu
Museum for Preventive Imagination - Editorial, MACRO, Museum of Contemporary Art of Rome.
Schiele – Rainer – Kokoschka, Der Welt (M)Eine Ordnung Geben, Sammlung Ernst Ploil, Eine Auswahl, Landesgalerie Niederösterreich, Krems.
Crocodile Cradle: An exhibition to be performed, Simon Moretti, London.
Be Calm, Richard Levy Gallery, Albuquerque.
Yesterday, Today, Tomorrow : Works from the Mudam Collection, Luxemburg.
Pas de deux, Part 1, Knust Kunz Gallery Editions, Munich.
It’s Urgent: 2020, Luma Arles.
Real Time, Seventeen gallery, London.
PS 81E, Esther Schipper, Berlin.
Another Idea: an actual conceptual art exhibition, Gray Center for Arts and Inquiry, Chicago.
de-sport: The Deconstruction and Reconstruction of Sports through Art, 21st Century Museum of Contemporary Art, Kanazawa.
A Fair Land Pforzheim, Hochschule Pforzheim.
Entree des Artistes, Air de Paris, Paris.
Portable Documents Formatted for Home Use, Bel Ami, Los Angeles.

2019
Thonet Reimagined, Haus der Kunst, Munich.
Matera 2019 Open Futures, I-Dea Project, Matera.
Sejong Collector Story, Sejong Center, Korea.
Objects of Wonder: From Pedestal to Interaction, ARoS, Arhus.
More, Air de Paris, Paris.
Who Knows One, curated by Haim Steinbach, Vistamare, Pescara.
We Must Cultivate Our Garden, Sunshine Cafe, Margate.
Bauhaus: Utopia in Crisis, Camberwell Space, London.
Narrative Art, Galerie Hans Mayer, Düsseldorf.
For an Imaginist Renewal of the World. The Alba Congress: 1956-2019, Castello di Rivoli.
Age of You, Museum of Contemporary Art, Toronto.
t's Urgent! - Part II, Luma Westbau, Zurich.
The Estate Summer, Kim? Contemporary Art Centre, Riga.
Fly me to the Moon: The Moon Landing 50 Years on, Museum der Moderne, Salzburg.
Shadowplay, Kerlin Gallery, Dublin.
Distance in Time: Chefs-d’oeuvres de la collection Ishikawa, Mo.Co. Montpelier.
Words: Allan Kaprow, Converso, Milan.
Gigantisme - Art & Industrie, Fonds régional d’art contemporain Grand Large - Hauts-de-France (FRAC) and the Lieu d’Art et Action Contemporaine – Musée de France (LAAC)
After Minimalism, Valletta Contemporary, Malta.
ART+CLIMATE=CHANGE, Potter Museum of Art, Melbourne.
Fly me to the Moon: The Moon Landing 50 Years on, Kunsthaus Zurich.
The Way we Are 1.0, Weserburg Museum für Moderne Kunst, Bremen.
Now is the Time: 25 Years Collection, Kunstmuseum Wolfsburg.
Bau [spiel] Haus, Neues Museum, Nürnberg.
Duchamp Threads The Needle, David Nolan, New York.
In Platos Anus: Giorgio Sadotti, Kunstraum London.
Artists Housing Prototype Show, Artcore, Derby.
The Artist is Everything, Leadapron, Los Angeles.
Objects of Wonder: British Sculptures 1950s – Present, Tate, London, Palais Populaire, Berlin.

2018
Okayama Art Summit 2019 Pre-event, "A&C", Okayama.
A l’heure du dessin, 6e temps Tracé, Château de servières, Marseilles.
The Log-O-Rithmic Slide Rule: A Retrospective, Trix and Robert Haussmann, ETH Zurich.
Light Non-Light, Chapter II, Seoul.
Common Denominator, Goethe Institute, Dublin.
Que fut 1848?, Frac Grand Large - Hauts-de-France.
Letters of Last Resort, Damien and the Love Guru, Brussels.
Group show, La Panacée MoCo, Montpelier.
Festival M3, Art in Space, Kunsthalle Prague.
Ghost Nets, organized by Julieta Aranda, OMR, Mexico D.F.
Drukwerk/Printed matter, FRAC Normandie, Rouen.
Soziale Fassaden: Ein Dialog der Sammlungen des MMK und der DekaBank, MMK, Frankfurt.
1998, Air de Paris, Paris.
Best of 10 years, Kunsthalle Weishaupt, Ulm.
Architecture of Storage, German Center for Architecture Berlin, DAZ, Berlin.
Apartment of Mr. Reverend, Regina Gallery, Moscow.
Twilight, Borusan Contemporary, Istanbul.
Art is work, Krokus Gallery, Bratislava.
The Log-O-Rithmic Slide Rule: A Retrospective, Trix and Robert Haussmann, KW Berlin.
Travellers: Stepping into the Unknown, The National Museum of Art, Osaka.

2017
Always Someone Awake and Someone Asleep, Galerie des Galeries, Paris.
Publishing as an Artistic Toolbox: 1989–2017, Kunsthalle Wien.
Parapolitics: Cultural Freedom and the Cold War, HKW Berlin.
Gems and Ladders, London Calling, The Design Museum, London.
Flatland/Abstractions Narratives, Mudam, Luxemburg.
A Green and Pleasant Land Towner, Art Gallery, Eastbourne.
Wall to Wall: Carpets by Artists, Katonah Museum of Art.
Arquitecturas y Espacios en la Colección Rac, CentroCentro Cibeles, Madrid.
A&A, Taimatz, Tokyo.
True Faith, Manchester City Art Gallery, Manchester.
Gesture, Form, Technique, Taro Nasu, Tokyo.
How to Live Together, Kunsthalle Wien.
Mental Yellow (High Noon) Kunstmuseum Bonn.
99 Cents, Museum of Contemporary Art Detroit.
And What for Example, am I now seeing?, Galerie Continua, Les Moulins.
Best of 10 Years, Kunsthalle Weishaupt.
The Carpet Kartell, Tanja Grunert, New York.
Shanghai Project Chapter 2: Seeds of Time, Shanghai Himalayas Museum.
Colori, Castelo di Rivoli, Turin.
Everything you need to know about: The FY Foundation - An Exhibition, Shenzhen.
The Interior and The Carpet, Pacific Design Center, Los Angeles.
John Latham - A World View, Serpentine Gallery, London.
Poïpoï, une Collection Privée à Monaco, NMNM-Villa Sauber.
Park, (organized by Kerlin Gallery) Holly’s Gallery, Guangzhou, China.
Arts Council 40th Anniversary Exhibition, Night at the Museum, The Attenborough Centre, Leicester.
Variable Dimensions: Artists and Architecture, MAAT, Lisbon.
Elbphilharmonie Revisited, Deichtorhallen, Hamburg.
Du verbe à la communication, Le Carre d'art Nimes.
Readymade, House Eva Presenhuber, Vna, Switzerland.

2016
Alfonso Artiaco 30th Anniversary, Alfonso Artiaco, Naples.
Cloud Cover, Kresge and Pascal Galleries, Ramapo College, Mahwah.
rts Council 40th Anniversary Exhibition, Night at the Museum, The Gas Hall, Birmingham.
Moving Image Department, 6th Chapter: Inner Lives (of Time), National Gallery of Art, Prague.
Dreamlands: Immersive Cinema and Art 1905-2016, Whitney Museum of Art, New York.
L’esprit du Bauhaus, Musée des Arts décoratif, Paris.
The Collector's Eye, Nine Private Collections In Strasbourg, Musée d’art moderne et contemporain, Strasbourg.
Accumulations: 5,000 Years of Objects, Fictions, and Conversations, Mead Art Museum, Amherst.
The World Preserves The Memory Of All Past Traces, Centro de Arte Alcobendas, Madrid.
Wall to Wall: Carpets by Artists, Cleveland MoCA.
Shanghai Project, Shanghai Himalayas Museum.
For an Image, Faster Than Light, Yinchuan Biennale.
PLATOvideo08 - 70.léta, Plato, Ostrava-Vítkovice.
Where Text is Broken by a Building, Arario Museum, Seoul.
Arts Council 40th Anniversary Exhibition, Night at the Museum, Yorkshire Sculpture Park.
Re-Reading the Collection, CGAC, Santiago de Compostela.
Moving Image Department, Chapter 5, National Gallery of Art, Prague.
If All Relationships Were to Reach Equilibrium, Then This Building Would Dissolve, MIMA, Middlesbrough.
Reading Context, The Collection Teaching Gallery, CCS, Bard College, Annandale-on-Hudson.
Invisible Adversaries, Hessel Museum of Art, Bard College, Annandale-on-Hudson.
Anything for a Laugh: Humor in Contemporary Art, Ora Gallery, New York.
Eric the King Fan Club, Colette, Paris.
Beton, Kunsthalle Wien.
Parcours, Domaine de Muy, Le Muy.
Fünfzig Zigarren für das Licht der Zukunft, Kunst im Schloss Untergröningen.
Presently, neugerriemschneider, Berlin.
140K, Kunstraum Ortloff, Leipzig.
EVA International - Ireland's Biennial, Still (the) Barbarians, Limerick.
The Natural Order of Things, Fundacion Jumex, Mexico City.
30th Anniversary Programme, Grazer Kunstverein.
A History: Contemporary Art from the Centre Pompidou, Haus der Kunst, Munich.
LSD, Rob Tufnell, London.
Film Screening, Eva Presenhuber, Zurich.
Moving Image Department: Chapter 4th, The Rhetoric of Time, Revisited, National Gallery, Prague.
Ceramics in the Noughties: The Attese Edizioni Collection, Ceramics Museum of Savona.
A Material Legacy: the Nancy A. Nasher and David J. Haemisegger Collection of Contemporary Art, Nasher Museum of Art at Duke University, Durham, N.C.
All Over, Galerie des Galeries, Paris.
Expanded Fields, Nymphius Projekte, Berlin.
Fluidity, Kunstverein in Hamburg.
All Systems Go, Cooper Gallery, DJCAD, Dundee.

2015
Roger Excoffon et la fonderie Olive, Bibliothèque de l’Alcazar, Marseilles.
Alrededor de una pasión: colección Fundación RAC, Centro Huarte, Huarte Navarra.
Beginnings, Vartai, Vilnius.
British Art Show 8, Leeds Art Gallery and touring (Edinburgh, Norwich, Southampton).
Hotel Theory, Redcat, Los Angeles.
Moving Image Department - 3rd Chapter: The Owl’s Legacy, National Gallery Prague.
Dimensions Variable, Artists and Architecture, Pavillon de l’arsenal, Paris.
Second Oeuvre, Préface, Toulouse.
L’exposition d’un film, Centre Pompidou, Paris.
6th Moscow Biennale of Contemporary Art, Moscow.
Saltwater: A theory of thought forms, 14th Istanbul Biennial, Istanbul.
Threads: Fantasmagoria about Distance, Kaunus Biennale, Lithuania.
Collecting Lines: Drawings from the Ringier Collection, Villa Flora, Winterthur.
In Girum Imus Nocte et Consumimur Igni, Jumex Foundation, Mexico.
All-Imitate-Act, Luma Arles, Arles.
Moving Image Department - 2nd Chapter: The Eclipse of an innocent eye, National Gallery Prague.
Summer Kino, Johnen Galerie, Berlin.
Royal Academy Summer Exhibition (curated by Michael Craig-Martin), Royal Academy, London.
Space Between, Flag Foundation, New York.
No Museum, No Life? - Art Museum Encyclopedia to Come from the Collections of the National Museums of Art, The National Museum of Modem Art, Tokyo.
International Currency, curated by Noah Barker, Lodos Contemporaneo, Mexico D.F.
Cloud Cover, curated by Lee Foley, Bard CCS.
Lo Schermo dell’arte Film Festival, Palazzo Grassi, Venice.
Works on Paper, Galerie Eva Presenhuber, Zurich.
a) Moving Image Department, National Gallery, Prague.
Pop Art Design, EMMA, Espoo.
Not: The Art of Resistance, The Holden Gallery, Manchester School of Art.
Adventures of the black square: Abstract art and society 1915-2015, Whitechapel Gallery, London.

2014
Leben mit Kunst Teil 2. 50 Jahre Sammlung Siegfried und Jutta Weishaupt, Kunsthalle Weishaupt, Ulm.
Imagineering/Okayama Art Project, Okayama.
Project LSD, White Columns, New York.
Blue Times, Kunsthalle Wien.
Szalon, Logan Center, Chicago.
20+, SMAHK, Assen.
Disappearing Things: 55th October Salon, Belgrade.
Helicotrema, Viafarini, Milan.
Stillpass Collection with Exterior Concourse Diagram, collectorspace, Istanbul.
Petals on the Wind, Galerie Micheline Szwajcer, Brussels.
Beyond and Between, Leeum Samsung Museum of Art, Seoul.
Institute for Human Activities, Democratic Republic of Congo.
Deep One Perfect Morning, Kerlin Gallery, Dublin.
A Machinery for Living, Organized by Walead Beshty, Petzel, New York.
Une Histoire, Art, Architecture, Design des années 1980 à nos jours, Centre Pompidou, Paris.
Swiss Pavilion, 14th Architecture Biennale, Venice.
Never Look Back when Leaving, Casey Kaplan, New York.
Der Leone have sept cabeças, CRAC Alsace, Altkirch.
9 Artists, MIT List Visual Art Center, Cambridge.
The Decade 1984-1999, Centre Pompidou, Metz.
Will Happiness Find Me, Tokyo City Opera Art Gallery, Tokyo.
Who Shall Deliver Us from Greeks and Romans, Galeri Manâ, Istanbul.
Triple Oh!, Pestorius Sweeney House, Brisbane.
Breaking News from the Ether, La Panacée, Centre de Culture Contemporaine, Montpellier.
El Hotel Eléctrico, M_kha, Antwerp.
Monochrome & Readymades, L’Onde Théâtre Centre d’art, Velizy-Villacoublay.

2013
Secret Codes (Códigos Secretos), Galerie Luisa Strina, Sao Paulo.
Absolut, White Flag Projects, St. Louis, Mo.
Fading Nights, Gerhardsen Gerner, Berlin.
Punctum: Fotographie zwischen Inszenierung und Dokumentation, Boltensternraum Baden (Meyer Kainer)
Capitalism Catch 22, Impakt Festival Utrecht.
CAC Malaga: Una Década, CAC Malaga.
9 Artists, Walker Art Center, Minneapolis.
Nuit Blanche, Paris.
To the Reader, BAK, Utrecht.
One foot in the real world, Irish Museum of Modern Art, Dublin.
Some a little Sooner, Some a little Later, LUMA Westbau, Zurich.
British British Polish Polish, CCA Warsaw.
Word+Work, Galerie Nachst St. Stephan, Vienna.
Reading List: Artist’s Selections from the MoMA Library Collection, New York.
Abstract Nature, Parkett Austellungs-Raum, Zurich.
Unknown Forces, Curated by Sunjung Kim, Tophane-i Amire Gallery, Mimar Sinan University, Istanbul.
Leichte Verstörung in den Fabriken, tête, Berlin.
Secondary Stuctures, Francois Morellet, Olivier Mosset, Liam Gillick, Katja Strunz, Ruzicska, Salzburg.
Contemporary Artists of the Donegal Diaspora, Regional Cultural Centre, Letterkenny.
Draft Urbanism, The Biennale of the Americas, Denver.
Sommeraustellung, Esther Schipper, Berlin.
7 Studies, Schellmann Furniture, Munich.
Chinese Whispers: A Group Show on the loss of Control, Cura.basement, Rome.
Salle d’attente III, Galerie Laurent Mueller, Paris.
The Collection, SMAK, Gent.
DLA Piper Series: Constellations, Tate Liverpool.
Striped: Gillick, Lefcourt, LeWitt, Pierson, Mitterand + Cramer, Geneve.
Kunst Nach 45, Lenbachhaus, Munich.
Poesia: Werke aus der Sammlung Reinking, Städtische Galerie Delmenhorst.
Fired Earth, Herbert Gerisch Stiftung, Neumünster.
The Lie and the Powerpoint, with Benoit Maire and Falke Pisano, Shanaynay, Paris.
Endless Bummer/Still Bummin, Marlborough Chelsea, New York.
Neoplastic Room. Open Composition, Museum Sztuki, Lodz.
Edge Order Rupture, Gallery Lelong, New York.
The Twentieth Century as Never Seen Before, Museo di Santa Giulia, Brescia.
Love in a Cold Climate, S1 Artspace, Sheffield.
Cross/Roads, Willie Birch and Liam Gillick, Bard CCS.
Abstract Generation: Now in Print, MoMA, New York.
Manifest Abstraction, Le Quartier - Centre d’art contemporain, Quimper.
Another Time, Pestorius Sweeney House, Brisbane.
Looking Back - The 7th White Columns Annual, selected by Richard Birkett, White Columns, New York.

2012
Screens, Galerie Meyer Kainer, Vienna.
True Stories: Scripted Realities, Dunedin Public Art Gallery, New Zealand.
Extended Minimalism, Javier Lopez, Madrid.
Test Run, Kunsthaus Dresden.
Inhabited Architecture, Guggenheim, Bilbao.
The Mystery Spot, Fondation d’enterprise Ricard, Paris.
The Feverish Library, Friedrich Petzel, New York.
Parque Industrial, Galeria Luisa Strina, Sao Paulo.
Where is the Power, Fort Worth Contemporary Arts.
True Stories: Scripted Realities, Te Tuhi Centre for the Arts, New Zealand.
Decade: Contemporary Collecting 2002-2012, Albright Knox, Buffalo.
Various stages, Kunsthaus Dresden.
Sense and Sustainability, Eraskusketa Fundacion, 2012
Skulpturen und Reliefs aus der Sammlung, Kunsthalle Weishaupt, Ulm.
Take off your silver spurs and help me pass the time, Galerie Nikolaus Ruzicska, Salzburg.
Group Exhibition, Kerlin Gallery, July.
Air de Paris Summer Show, Art & Rapy, Monaco.
Last Day, Cartel, London.
Looking Back for the Future, Kunsthalle, Zurich.
Painting in Space, Luhring Augustine, New York.
Soundworks, ICA, London.
Wir treffen uns am Abend, Galerie Kamm, Berlin.
Read, Look! We promise it’s not dangerous, Emily Harvey Foundation, New York.
How to Make - Ideen, Notationen, Materialisierungen, Kunsthaus Dresden.
True Stories: Scripted Realities, Govett-Brewster Art Gallery, New Plymouth, New Zealand.
Positions on Conceptual Art, Galerie Rüdiger Schottle, Köln.
Print/Out, MoMA, New York.
The Poster Show, Galerie Carlier-Gebauer, Berlin.
Schrift Bild, Galerie Meyer Kainer, Vienna.
Utopia Gesamtkunstwerk, 21er Haus, Vienna.
Abstract Possible: The Stockholm Synergies, Tensta Konsthall, Stockholm.

Of Bridges and Borders: Chapter V, From Real to Surreal, Museo de Arte Moderno de Buenos Aires.
Performa 11, New York
The Air we Breathe, SFMOMA, San Francisco.
Obras de la collecion Jumex, Hospicio Cabanas, Guadalajara.
Our Day Will Come & Iteration Again, University of Tasmania School of Art in Hobart.
Monodrome, 3rd Athens Biennale, Athens.
In Deed: Certificates of authenticity in Art, Fondazione Bevilacqua, La Masa.
In Deed: Certificates of authenticity in Art, De Vleeshal, Middelburg.
Göteborg International Biennale for Contemporary Art, Göteborg.
Als die Wälder auf Reisen gingen, Kunstverein Pforzheim.
Conversation Pieces, Tate, Liverpool.
Footnote 6: As Model, Miguel Abreu, New York.
Humid but cool I think, Taro Nasu, Tokyo.
Everything must Go!, Casey Kaplan, New York.
Out of storage, Marres, Maastricht.
Sculpture Now, Galerie Eva Presenhuber, Zurich.
Contemporary Magic: A Tarot Deck art project, Andy Warhol Museum, Pittsburgh.
Space Oddity, Kunsthalle Andratx.
I am still alive, MoMA, New York.
Abstract Possible, Museo Tamayo, Mexico, D.F.
Police!, Galerie Nathalie Seroussi, Paris.
A lunatic on bulbs, Giorgio Pace Projects, Chesa Planta.
We Are Grammar, Pratt Institute Gallery, New York.
Scaffolding of contrition, LeRoy Neiman Gallery, New York.
Modern British Sculpture, Royal Academy, London.
Someone else’s life, Kerlin Gallery, Dublin.
No more presence, The Artist’s Institute, New York.

2010
01-10, Esther Schipper, Berlin.
Without you I am nothing: Art and its Audience, Museum of Contemporary Art, Chicago.
Which whitch is which and/or summertime, White Flag Projects, St. Louis.
Nature, Gerhardsen Gerner, Berlin.
Contemporary Magic: A Tarot Deck art project, National Arts Club, New York.
8th Shanghai Biennale, Shanghai.
Geometry in 20th Century Art, Museo d’arte Latinamericano de Buenos Aires.
Today I made nothing, Elizabeth Dee Gallery, New York.
Aires de Jeux, Le Quartier, Quimper.
Unrealised Potential, Cornerhouse, Manchester.
Changing Britain: Documentary Photography from the Arts Council Collection, Portcullis House, London.
Multiple Pleasures, Tanya Bonakdar Gallery, New York.
The Philosophy of Money, White Pavilion, Lisbon City Museum.
89 KM. CGAC Collection, MARCO, Vigo.
Humanity is not a completed project, Villa du Parc, Centre d’art Contemporain, Annemasse.
Men with Balls: Art of the 2010 World Cup, Apex Art, New York.
Post-Office, Artspace, Auckland.
High ideals and crazy dreams, Vera Munro, Hamburg.
Kozmik Latte, Borusan Collection, Istanbul.
Film Matters, Beton 7, Athens.
Don’t Piss on me and tell me that it’s raining, Apex Art, New York.
The Promises of the Past, Centre Pompidou, Paris.
Ce qui vient, Les Ateliers de Rennes, Biennale d’art contemporain, Rennes.
Art: Curated by Michael Craig-Martin, Haas and Fuchs, Berlin.
Fantasy & Island, FRAC Corse.
Pictures about Pictures: Discources in Painting, MUMOK, Wien.
Corporate Everything, Kunsthalle Freiburg.
Shazam, c/o Gerhardsen Gerner, Berlin.
It is it, Espacio 1414 Puerto Rico.
Interference: Fields for listening and Praxis, The studio at Moderna Museet, Stockholm.
Animism, MuKHA/Extra City, Antwerp.

2009
Queensland Art 2009, Pestorious Sweeney House, Brisbane.
Gagarin: Artists in their own words, SMAK, Gent.
We are sun-kissed and Snow Blind, Patrick Seguin, Paris.
A Factory, A Machine, A Body…, MUCA, Mexico City.
Artists in Depth: Gillick, Holzer, Judd, Lewitt, MCA Chicago.
La Suite, Air de Paris, Paris.
T-tris, B.P.S. 22, Charleroi.
Top 10 Allegories, Galerie Francesca Pia, Geneve.
Watou 2009, Watou.
Learn to read art: A History of Printed Matter (1976-2009), Badischer Kunstverein, Karlsruhe.
Il Tempo del Postino, Theater Basel, Basel
The Obstacle is Tautology, Tulips and Roses, Vilnius.
UFO: Grenzgänge zwischen Kunst und Design, NRW-Forum, Dusseldorf.
Take the Money and Run, De Appel, Amsterdam
Between Metaphor and Object, IMMA, Dublin.
Lapdogs of the Bourgeoisie, Arnolfini, Bristol
Because I say so: Sculpture from the Scholl collection, Frost Art Museum, Miami.
La Recherche, Air de Paris, Paris.
A Factory, A Machine, A Body… Archaeology and Memory of Industrial Spaces, Centre d’art La Panera, Lleida.
Unbuilt Roads, E-flux, New York.
Beaufort 03, Oostende, Belgium.
International Photo Festival Knokke-Heist, Knokke Heist.
Espèces d’Espaces, Yvon Lambert, New York.
The Human Stain, CGAC Santiago de Compostela.
Forms of Inquiry, Archizoom, Lausanne.
ust what are the saying, Jonathan Ferrara Gallery, New Orleans.
Custom Car Commandos, Art in General, New York.
Saints and Sinners, Rose Art Museum, Brandeis University.

2008
Fifty Percent Solitude, Kerlin Gallery, Dublin.
Made in Munich, Haus der Kunst, Munich.
Getting Even, Lewis Glucksman Gallery, Cork
Theanyspacewhatever, Guggenheim Museum, New York.
Accessories to an artwork, Paul Stolper Gallery, London.
Edition Schellmann Furniture, Edition Schellmann, Munich.
Branding Democracy, New School, New York.
Moments and Murals, MD72, Berlin.
100 Artists: Art on the Underground, A Foundation Gallery, London.
La Vitrina, Gudalajara.
La Petite Histoire, Kunstraum Niederoesterreich, Vienna.
This is the gallery and the gallery is Many things, Eastside Projects, Birmingham.
Shapes of Space 2, Mário Sequeira Gallery, Braga.
Mondo e Terra, FRAC Corse.
Private/Corporate V: Daimler Art Collection, Haus Huth, Berlin.
Vincent Award, Stedelijk Museum, Amsterdam.
No so subtle subtitle, Casey Kaplan, New York.
Call it what you like, Art Center Silkeborg Bad.
The Sydney Biennale, Sydney.
Paixóns Privadas, Visións Públicas, Museo de Arte Contemporánea de Vigo (MARCO), Pontevedra.
Blasted Allegories: Sammlung Ringier, Kunstmuseum, Luzern.
The Store, Tulips and Roses, Vilnus.
This is the gallery and the gallery is many things, Eastside Projects, Birmingham.
Book/Shelf, MoMA, New York
Fantasy, MuKHA, Antwerp.
Typed, Sadie Coles, London.
Cube Passerby, Passerby, New York.
The Brisbane Sound, Institute of Modern Art, Brisbane.
KW Hommage à Klaus Werner, Galerie für Zeitgenössiche Kunst, Leipzig.
MAXImin, A century of abstraction, Fondacion Juan March, Madrid.
Lapdogs of the Bougoisie, Tensta Konsthall, Spanga
Mixed Emotions, Domus Atrium, Salamanca.
Images: A spike magazine project, Forde, Geneva.

2007
Xmas Hysteria, Galleria Emi Fontana, Milan.
Fusion Now! More light, more power, more people, Rokerby Gallery. 12/2007 Winter Palace, de Aterliers, Amsterdam.
If everybody had an ocean, CAPC, Bordeaux.
Eva Presenhuber/Jubilee Exhibition, Vnà.
Tomorrow is Another Day, Artsonje, Seoul.
Franz West: Soufflé, Kunstraum Innsbruck.
Projektion, Lentos Kunstmuseum Linz.
Floating Territories, Various Locations (Venice, Istanbul…)
If Everybody Had an Ocean, CAPC, Bordeaux.
Fourier, Centre d’art mobile, Besançon.
The Showroom Talks, The Showroom, London.
L’ottava Tavola: An Etymology of Contemporary Codes, Cortona.
I can’t live without, The Showroom, London.
Franchise, Assen.
Other Men’s Flowers, Venetia Kapernekas Gallery, New York.
All You Desire, PPOW, New York.
Edition Schellmann Door Cycle, Friedrich Petzel Gallery, New York.
It starts from here, De La Warr Pavillion.
Intocable (El ideal de la transparencia), The Museum of Contemporary Art, Valladolid.
Perspektive 07, Lenbachhaus, Munich.
How to improve the world, Birmingham Museum and Art Gallery.
Trajectory 4: AKA Institute of Contemporary Art, Old Harbour, Riga.
If Everybody Had an Ocean, Tate, St. Ives.
Memorial to the Iraq War, ICA, London
The Shapes of Space, Guggenheim Museum, New York.
The Redistribution of the Sensible, Galerie Magnus Muller, Berlin.
Airs de Paris, Centre Pompidou, Paris.
Pure, Sean Kelly, New York.
Models for Tommorow: Cologne, EU Kunsthalle, Köln.
Los Vinilos, El Basilico, Buenos Aires.
Collateral: When Art Looks at Cinema, Hangar Bicocca, Milan.
Active Constellation, Brno House of Art.
Lapdogs of the Bourgoisie, Platform Garanti, Istanbul.

2006
Drapeaux Gris, CAPC, Bordeaux.
All Hawaii Entrées/Lunar Reggae, IMMA, Dublin.
Saigon: Open City, Saigon.
Klinik: Eine pathologie der Gesten, Hebbel am Ulfer, Berlin.
Eye on Europe: Prints, Books and Multiples 1960 to now, MoMA, New York.
How to improve the World, Hayward Gallery, London.
Projektion, Kunstmuseum, Luzern.
Academy, Van Abbemuseum, Eindhoven.
Faster! Bigger! Better!, ZKM, Karlsruhe.
Modus, Neue Kunsthalle, St. Gallen.
Abstraction Now, Wilhelm-Hack-Museum, Ludwigshafen.
Dirty Words, Galeria Pedro Cera, Lisbon.
Turtle, Chelsea Space, London.
Sprung ins Kalte Wasser, Shedhalle, Zurich.
Crytallizations, Andreas Murkurdis Temporary, Munich.
Undisciplined: Attese Biennale of Ceramic Arts, Attese.
Untouchable (The ideal of Transparency), Villa Arson, Nice.
Thankyou for the Music (London Beat), Sprüth Magers Lee, London
Grey Flags, Sculpture Center, New York.
Supernova, Galerie Jana Koniarka, Trnava.
Back and Forth, Stiftung Wilhelm Lehmbruck Museum, Duisburg.
Classical Modern, Daimler Chrysler Contemporary, Berlin.
A short history of performance Part 4, Whitechapel Art Gallery, London.
Bühne des Lebens – Rhetorik des Gefühls, Kunstbau München.
Ordnung und Verführung, Haus Konstructiv, Zurich.
When Artists Say We, Artists Space, New York.
Under Construction, European Kunshalle, Cologne.
Tate Triennial, Tate Britain.
Minimal Illusions, Galerien der Stadt Esslingen.
100 Artists See God (curated by John Baldessari & Meg Cranston), Cheekwood Museum of Art, Nashville.
Broken Surface, Galerie Sabine Knust, Munich.
Slow Burn, Galerie Edward Mitterand, Geneva.
Fondos da Colección CGAC: Entre o proceso e a forma, CGAC, Santiago de Compostela.
Cinéma(s), Le Magasin, Grenoble.
A person alone in a room with coca-cola coloured walls, Grazer Kunstverein.

2005
Minimalism and after, Daimler Chrysler Collection, Berlin.
Supernova, Contemporary Art Centre, Vilnius.
The Party, Casey Kaplan, New York.
Im Bild Sein, Galerie der HGB-Leipzig.
Thankyou for the Music, Sprüth Magers, Munich.
Strictement Confidentiel, CIAP, Ile de Vassiviere.
Ambiance, K21, Dusseldorf.
Rundledererwelten, Martin Gropius Bau, Berlin.
Reception, Büro Friedrich, Berlin.
Snow Black, Yvon Lambert, New York.
En Route: Via another route, Trans-Siberian Railway.
Passion beyond reason, Wallstreet 1, Berlin.
Etc., Le Consortium, Dijon.
General Ideas: Rethinking conceptual art 1987-2005, CCA Wattis, San Francisco.
100 Artists See God (curated by John Baldessari & Meg Cranston), Albright College Freedman Art Gallery, Reading, PA.
Extreme Abstraction, Albright Knox Art Gallery, Buffalo.
Nach Rokytnik, MUMOK, Vienna.
Go Between, Kunstverein Bregenz.
I Really Should*, Lisson Gallery, London.
Ed Kuepper’s MFLL, Queensland Music Festival, Brisbane Powerhouse, Brisbane.
100 Artists See God (curated by John Baldessari & Meg Cranston), Contemporary Art Center of Virginia, Virginia Beach.
Bidibidobidiboo, Works from Collezione Sandretto Re Rebaudengo, Turin.
Post Notes, Midway Contemporary Art, Minneapolis.
La La Land, The Project, Dublin.
Icestorm, Kunstverein München.
Supernova, Bunkier Sztuki, Kraków.
Anna Sanders Films, Cinema Svetozor, Prague.
Group Exhibition, Air de Paris, Paris.
The Strange, Familiar and Unforgotten, Galerie Erna Hecey, Brussels.
Good Titles for Bad Books, Kevin Bruk, Miami.
Ed Kuepper’s MFLL, Perth International Arts Festival, Perth
Goodbye 14th Street, Casey Kaplan, New York.
New Cohabitats, Galerie Ghislane Hussenot, Paris.
The Furniture of Poul Kjaerholm and selected artwork, Sean Kelly and R 20th Century, New York.
Exit – Aussteig aus dem bild, ZKM, Karlsruhe.

2004
Poul Kjaerholm, Sean Kelly, New York.
Ed Kuepper’s MFLL, Pestorius Sweeney House/David Pestorius Projects, Brisbane
Dicen que finko o miento. La ficción revisada, Central de arte, Guadalajara.
100 Artists See God (curated by John Baldessari & Meg Cranston), ICA, London.
Utopia Station, Haus der Kunst, Munich.
Ed Kuepper’s MFLL, Printemps de Septembre, Toulouse
Nothing Compared to This: Ambient, Incidental and New Minimal Tendencies in Current Art, CAC, Cincinnati.
Trailer, Man in the Holocene, London.
Ed Kuepper’s MFLL, Musterraum im Pinakotek der Moderne, München
Ed Kuepper’s MFLL, Filmmuseum & Burgtheater im Kasino, Vienna
Ed Kuepper’s MFLL, Volksbühne, Berlin
Ed Kuepper’s MFLL, Les Soirées Nomades, Fondation Cartier pour l’art contemporaine, Paris
100 Artists See God (curated by John Baldessari & Meg Cranston), Laguna Art Museum, Laguna Beach.
The Trailer Special Project, Curzon Cinemas, London.
Ed Kuepper MFLL, Institute of Modern Art, Brisbane
Strike, Basekamp, Philadelphia.
Black Friday: Exercises in Hermetics, Galerie Kamm, Berlin.
Marks in Space, Usher Gallery, Lincoln.
Ed Kuepper’s MFLL, Sydney Opera House, Sydney
Open, Arcadia University Art Gallery, Glenside, PA
Off the Record/Sound Art, ARC Musée d’art moderne de la ville de Paris.
Czech Made, Display, Prague.
Em Jogo, CAV, Coimbra.
Emotion Eins, Ursula Blickle Stiftung/Frankfurter Kunstverein.
Artists’ Favourites, ICA, London.
Sadie Hawkins Dance, Southfirst, Brooklyn.
Drunken Masters, Fortes Vilaca, Sao Paulo.
9 Mütter XX04, Mütter Museum, Philadelphia.
Across the Border, MDD – Museum Dhondt-Dhaenens, Deurle.
Russian Doll, MOT, London.
Tonight, (curated by Paul O’Neill), Studio Voltaire, London.
How to learn to love the bomb and stop worrying about it, Central de Arte en WTC, Guadalajara.
Before the End, (curated by Stéfanie Moisdon and Olivier Mosset), Le Consortium, Dijon.
The Drawing Project, Vamiali’s, Athens.
100 Artists See God (curated by John Baldessari & Meg Cranston), The Contemporary Jewish Museum, San Francisco.
Establishing Shot, Artists Space, New York.
Singular Forms (Sometimes Repeated), Art from 1951 to the Present, Guggenheim Museum, New York.

2003
Bad Behaviour: Works from the Arts Council Collection, Yorkshire Sculpture Park.
Everything Can Be Different, Maryland Institute College of Art, Baltimore.
A Nova Geometria, Galeria Fortes Vilaça, Sao Paulo.
Adorno 100, Frankfurter Kunstverein.
Wittgenstein: Family Likenesses, Institute of Visual Culture, Cambridge.
How to learn to love the bomb and stop worrying about it, National Chamber of Art Industries, Mexico City.
Abstraction Now, Künstlerhaus Wien, Vienna.
Honey I rearranged the collection, Greengrassi/Corvi-Mora, London.
Utopia Station, Venice Biennale, Venice.
25th International Biennial of Graphic Arts, Ljubljana.
Social Facades and Others, Lenbachhaus, Munich.
3D, Friedrich Petzel, New York.
Tirana Biennale 2, Tirana.
Form Specific, Moderna Galerija, Ljubljana.
Cool Luster, Collection Lambert, Avignon.
Typofgravy, Cell, London.
20 th Anniversary Show, Sprüth Magers, Köln.
Imperfect Marriages, Galleria Emi Fontana, Milan.
Glamour, British Council, Prague.
The Moderns/I moderni, Castello di Rivoli, Torino.
JRP Editions, Galería Javier López, Madrid.
The Air is Blue, Barragan House, Mexico City.
This Was Tomorrow, New Art Centre Sculpture Park, Salisbury.
Architecture Schmarchitecture, Kerlin Gallery, Dublin.
Breathing the Water, Galerie Hauser & Wirth & Presenhuber, Zurich.
Animations, Kunstwerk, Berlin.
JRP Editions, Galerie Edward Mitterand, Geneva.
Re-Produktion 2, Georg Kargl, Vienna.
Ill Communication, DCA, Dundee.
No Ghost Just a Shell, Van Abbemuseum, Eindhoven.
Perfect Timeless Repetition, C/O Atle Gerhardsen, Berlin.

2002
No Ghost Just a Shell, San Francisco Museum of Modern Art.
No Ghost Just A Shell, Institute of Visual Culture, Cambridge.
Gleitsicht, Krypta 182, Berg. Gladbach.
It’s Unfair, Museum de Paviljoens, Almere.
Lap Dissolve, Casey Kaplan, New York.
L’image habitable - versions B,C,D,E, Mamco, Geneva.
This Play 31, La Coleccion Jumex, Mexico.
Relational Aesthetics from the 1990s, San Francisco Art Institute, San Francisco.
Turner Prize, Tate, London.
The Galleries Show: Contemporary Art in London, Royal Academy of Arts, London.
The Unique Phenomena of a Distance, Magnani, London.
Strike, Wolverhampton Art Gallery.
Collections, ZKM, Karlsruhe.
Société Perpendiculaire: La Tapisserie, FRAC Provence-Alpes-Côte d’Azur.
No Ghost Just a Shell, Kunsthalle, Zurich.
Multiples X, London Print Studio.
Summer Cinema, Casey Kaplan, New York.
Collected Contemporaries, Moderna Museet, Stockholm.
JRP Editions, RAK, Vienna.
The Movement Began with a Scandal, Lenbachhaus, Munich.
Without Consent, CAN, Neuchatel.
The Object Sculpture, The Henry Moore Institute, Leeds.
Happy Outsiders from Scotland and London, Zachetal, Warsaw/Katowice City Gallery.
Inframince, Cabinet Gallery, London.
The Ink Jetty, Neon Gallery, London.
Private Views, Printed Space, London.
Parallel Structures, Gertrude Contemporary Art Spaces, Fitzroy, Victoria.
Startkapital, K21, Dusseldorf.
Annlee You Proposes, Mamco, Geneve.
Void, Rice Gallery, Tokyo/CCA Kitakyushu.
Everything Can Be Different, University of Memphis, Tennesee.
Art & Economy, Deichtorhallen, Hamburg.
J’en ai pris des coups mais j’en ai donnés aussi, Galerie Chez Valentin, Paris.
Do It, Museo de Arte Carrillo Gil, San Angel.
Minimal Maximal, National Museum of Contemporary Art, Seoul.
Nothing, Mead Gallery, Warwick.
Passenger: The Viewer as Participant, Astrup Fearnley Museum, Oslo.
Reflexions, Sprüth Magers, Munich.
Urgent Painting, ARC, Musée d’art moderne de la ville de Paris, Paris.

2001
...if a double-decker bus crashes into us... , Air de Paris, Paris.
I love Dijon, Le Consortium, Dijon.
Ingenting, Rooseum, Malmö.
En/Of, Schneiderei, Köln.
Rumour City, TN Probe, Japan.
9e Biennale de l’image en Mouvement, Centre pour l’image contemporaine, Saint-Gervais, Genève.
Parallel Structures, South Bank Corporation, Brisbane.
Animations, PS1, Long Island City.
Rumor City, Raffinerie, Brussels.
Everything Can Be Different, Jean Paul Slusser Gallery, University of Michigan School of Art, Ann Arbor.
Yokohama 2001, Yokohama Triennale, Yokohama.
Demonstration Room: Ideal House, NICC, Antwerp.
Beautiful Productions: Parkett, Whitechapel Gallery, London.
Ambiance Magasin, Meymac Centre d’art Contemporain.
The Communications Department, Anthony Wilkinson Gallery.
Stéphane Dafflon/Liam Gillick/Xavier Veilhan, Le Spot, Le Havre.
Strategies against Architecture, Fondazione Teseco, Pisa.
A Timely Place, Or, Getting Back to Somewhere, London Print Studio.
Biennale de Lyon, Musée d’art contemporain, Lyon.
Geometry and Gesture, Thaddeaus Ropac, Salzburg.
The Wedding Show, Casey Kaplan, New York.
A New Domestic Landscape, Javier Lopez, Madrid.
International Language, Grassy Knoll Productions, various sites, Belfast.
4Free, Büro Friedrich, Berlin.
Collaborations with Parkett: 1984 to now, Museum of Modern Art, New York.
Berlin Biennale, Kunst Werk, Berlin.
Contemporary Utopia, Museum of Modern Art, Riga.
Nothing, Northern Gallery for Contemporary Art, Sunderland/Contemporary Art Centre, Vilnius/Rooseum, Malmo.
Minimal-Maximal, City Museum of Art, Chiba; National Museum of Art, Kyoto; City Museum of Art, Fukuoka.
Future Perfect, Orchard Gallery, Derry.
Stop and Go, FRAC, Nord-Pas de Calais, Dunkerque.
There’s gonna be some trouble, a whole house will need rebuilding, Rooseum, Malmö.
Histoire de coeur, collection Michel Poitevin, Fondation Guerlain, Les Mesnuls.
Demonstration Room: Ideal House, Apex Art, New York.
Century City, Tate Modern, London.

2000
Future Perfect, Cornerhouse, Manchester.
Group Show, Corvi-Mora, London.
Ausstellung der Jahresgaben, Westfälischer Kunstverein, Münster.
How do you change an apartment that has been painted brown? Certainly not by painting it white, Institute of Visual Culture, Cambridge.
Perfidy, Kettles Yard, Cambridge.
More Shows About Buildings and Food, Fundicao de Oeiras, Oeiras.
Casa Ideal, Museo Alejandro Otero, Caracas.
Que saurions-nous construire d’autre? (What else could we build?), La Villa Noailles.
Indiscipline, Roomade, Brussels.
Aussendienst, Kunstverein in Hamburg.
e-mona, The Museum of New Art, Detroit.
Protest and Survive, Whitechapel Gallery, London.
Perfidy, La Tourette, Eveaux.
Wilder Bild Gegenwart, Positions to a Political Discourse, Nieuw Internationaal Kultureel Centrum, Antwerp.
Werkleitz, Tornitz.
Vicinato 2, Neuggerreimschneider, Berlin.
Vicinato 2, Fig. 1, London.
Haut de Forme et Bas Fonds, FRAC Poitou-Charentes, Angoulême.
Future Perfect, Centre for Visual Arts, Cardiff.
Intelligence, Tate Britain, London.
Group Show, Paula Cooper Gallery, New York.
Interplay, selected works from the Museum and private collections, The National Museum of Contemporary Art, Oslo
What If/Tänk Om, Moderna Museet, Stockholm.
Prefiguration of the Museum of Contemporary Art, Tucson (AZ). Collection JRP, Kunsthalle Fribourg
Working Title, Stanley PIcker Gallery, Kingston University.
Dire Aids, Art in the Age of Aids, Promotrice delle Belle Arti, Torino.
British Art Show 5, Touring Exhibition, Edinburgh, Southampton, Cardiff, Birmingham.
Viva Maria III, Galerie Admiralitätstraße, Hamburg.
Decompressing History, (curated by Lars Bang Larson), Galeri Enkehuset, Stockholm.
14 + 1, Feitchtner & Mizrahi, Vienna.
Wider Bild Gegen Wart. Positions to a political discourse, RAK Vienna
Group Show, Casey Kaplan, New York.
Media City 2000, Seoul.
Stortorget i Kalmar, Statens Konstråds Galleri, Kalmar.
Continuum 001, (curated by Rebecca Gordon Nesbitt) CCA, Glasgow.
29th International Film Festival, Rotterdam.

1999
Space, Schipper und Krome, Berlin.
Une histoire parmi d’autres, collection Michel Poltevin, FRAC Nord-Pas de Calais.
Officina Europa, Bologna.
705 Wings of Freedom, (curated by Uwe Wiesner), Berlin.
Jonathan Monk, Casey Kaplan, New York.
1999 East Wing Collection, Courtald Institute of Art, London.
Get Together/Art As Teamwork, Kunsthalle, Vienna.
New York/London, Taché-Levy, Brussels.
Transmute, (curated by Joshua Decter), MCA Chicago.
Art Lovers, (curated by Marcia Fortes), Tracey, Liverpool Biennial.
Fantasy Heckler, (curated by Padraig Timoney), Tracey, Liverpool Biennial.
Shopping, FAT, London.
dConstructivism: Life into Art, Brisbane Convention and Exhibition Center, Brisbane.
Tent, Rotterdam.
Objecthood OO, Athens.
The Space is Everywhere, Villa Merkel, Esslingen.
Le Capitale, (curated by Nicolas Bourriaud), Centre régionale d’art contemporain, Sete.
In The Midst of Things, University of Central England, Bourneville.
Laboratorium, Antwerpen Open, Antwerp.
Essential Things, (curated by Guy Mannes Abbott), Robert Prime, London.
Out of Sight - A cross-reference exhibition, Büro Friedrich, Berlin.
Etcetera, Spacex Gallery, Exeter.
Plug-ins, Salon 3, London.
Tang, Turner and Runyon, Dallas.
Air de Paris: works by AND/OR informations about, Grazer Kunstverein.
12 Artists, 12 Rooms, Galerie Thaddeaus Ropac, Salzburg.
Nur Wasser, Neumühlen, Hamburg.
Continued Investigation of the Relevance of Abstraction, Andrea Rosen Gallery, New York
Xn, Maison de la culture, Chalon
Pl@ytimes, Ecole supérieure d’art de Grenoble, Grenoble.
Konstructionszeichnungen, Kunst-Werke, Berlin.

1998
1+3 = 4 x 1, Galerie für Zietgenössische Kunst, Leipzig.
Projections, de Appel, Amsterdam.
The Project of the 2nd December, Salon 3, London.
Cluster Bomb, Morrison/Judd, London
Dijon/Le Consortium.coll, Centre Georges Pompidou, Paris.
Ghosts, Le Consortium, Dijon.
Minimal-Maximal, Neues Museum Weserburg, Bremen; Kunsthalle, Baden-Baden; CGAC, Santiago de Compostela.
Mise en Scène, Grazer Kunstverein, Graz.
Odradek, (curated by Thomas Mulcaire), Bard College, New York.
Weather Everything, (curated by Eric Troncy), Galerie für Zietgenössische Kunst, Leipzig.
Places to Stay 4 P(rinted) M(atter), Buro Friedrich, Berlin.
Entropy, (curated by Wilhelm Schurmann), Ludwigforum, Aachen.
The Erotic Sublime, Thaddeaus Ropac, Salzburg.
UK - Maximum Diversity, Galerie Krinzinger, Bregenz/Vienna.
Videostore, (organised by Nicolas Tremblay and Stephanie Moisdon), Brick and Kicks, Vienna.
Fuori Uso ‘98, Mercati Ortofrutticoli, Pescara.
London Calling, The British School at Rome & Galleria Nazionale d"Arte Moderna, Rome.
Kamikaze, Galerie im Marstall, Berlin.
In-significants, Stockholm, Sweden.
Inglenook, (curated by Evette Brachman), Feigen Contemporary, New York.
Arena - Sport und Kunst Austellung, Galerie im Rathaus, Munich.
Construction Drawings, (curated by Klaus Biesenback), PS1, New York.
A to Z, (curated by Matthew Higgs), The Approach, London.
Interactive, An Exhibition of Contemporary British Sculpture, Amerada Hess, London.
Artist/Author: Contemporary Artists’ Books, American Federation of Arts touring show, Weatherspoon Art Gallery, Greensboro/The Emerson Gallery, Clinton/ The Museum of Contemporary Art, Chicago/Lowe Art Museum, Coral Gables/Western Gallery, Bellingham/University Art Gallery, Amherst.
Fast Forward, Kunstverein in Hamburg.
Liam Gillick, John Miller, Joe Scanlan, RAK, Vienna

1997
Group Show, Schipper & Krome, Berlin.
Group Show, Air de Paris, Paris.
Work in Progress and or Finished, Ubermain, Los Angeles
Maxwell’s Demon, Margo Leavin, Los Angeles.
Other Men’s Flowers, The British School at Rome, Rome.
Kunst. . . Arbeit, SudWest LB, Stuttgart.
Hospital, Galerie Max Hetzler, Berlin.
Heaven - a Private View, PS1, Long Island.
Group Show, Vaknin Schwartz, Atlanta.
Ireland and Europe, Sculptors Society of Ireland, Dublin.
Group Show, Robert Prime, London.
Enterprise, ICA, Boston.
documenta X, Kassel.
504, (curated by John Armleder), Kunsthalle Braunschweig.
I Met A Man Who Wasn’t There, Basilico Fine Arts, New York.
Moment Ginza, (co-ordinated by Dominique Gonzalez-Foerster), Le Magasin, Grenoble.
Space Oddities, Canary Wharf Window Gallery, London.
Enter: audience, artist, institution, (curated by Barbara Steiner), Kunstmuseum Luzern, Luzern.
Ajar, Galleri F15, Jeløy.
Des Livres d’Artistes, L’ecole d’art de Grenoble, Grenoble.
Temps de Pose, Temps de Parole, Musée de l’Echevinage, Saintes
Life/Live, Centro Cultural de Belém, Lisbon.

1996
Limited Edition Artist’s Books Since 1990, Brooke Alexander, New York.
Supastore de Luxe, Up & Co., New York.
Glass Shelf Show, ICA, London.
Found Footage, Tanja Grunert & Klemens Gasser, Köln
A Scattering Matrix, (curated by Jane Hart), Richard Heller Gallery, Los Angeles.
All in One, Schipper & Krome, Köln.
Lost For Words, Coins Coffee Store, London.
Itinerant Texts, Camden Arts Centre, London.
Such is Life, Serpentine London/Palais des Beaux Arts, Brussels/Herzliya Museum of Art.
Life/Live, Musée d’Art Moderne de la Ville de Paris, Paris.
Escape Attempts, Globe, Copenhagen.
How Will We Behave?, Robert Prime, London.
I Feel Explosion, flat above Manchester Arndale Centre, Manchester, UK
Nach Weimar, (curated by Nicolaus Schafhausen and Klaus Biesenbach), Landesmuseum, Weimar.
Some Drawings From London, Princelet Street, London.
Dinner, (organised by Giorgio Sadotti), Cubitt Gallery, London.
Der Umbau Raum, Kunstlerhaus, Stuttgart.
Departure Lounge, The Clocktower, New York.
March à l’ombre, Air de Paris, Paris.
Kiss This, (curated by Jeremy Deller), Focalpoint Gallery, Southend.
Traffic, (curated by Nicolas Bourriaud), CAPC, Bordeaux.
Co-operators, Southampton City Art Gallery, Southampton.

1995
Trailer, (curated by Barbara Steiner), Mediapark, Köln.
Brilliant, (curated by Richard Flood), Walker Art Centre, Minneapolis.
New British Art, Museum Sztuki, Lodz.
Filmcuts, Neugerriemschneider, Berlin.
Reserve-Lager-Storage, Oh!, Bruxelles.
Ideal Standard Summertime, Lisson Gallery, London.
Karaoke, (curated by Georg Herold), South London Art Gallery.
Summer Fling, Basilico Fine Arts, New York.
Collection fin XXéme, FRAC Poitou Charentes, Angouleme.
In Search of the Miraculous, Starkmann Library Services, London.
Bad Times, (curated by Jonathan Monk), CCA, Glasgow.
Möbius Strip, Basilico Fine Arts, New York.

1994
The Institute of Cultural Anxiety, (curated by Jeremy Millar), ICA, London.
Surface de Réparations 2, FRAC Borgougne, Dijon.
Lost Paradise, (curated by Barbara Steiner), Kunstraum, Vienna.
Das Archiv, Forum Stadtpark, Graz.
Miniatures, The Agency, London.
Other Men’s Flowers, (curated by Joshua Compston), Hoxton Square, London.
WM/Karaoke, (curated by Georg Herold), Portikus, Frankfurt.
Mechanical Reproduction, (curated by Jack Jaeger), Galerie van Gelder, Amsterdam.
Rue des Marins, Air de Paris, Nice.
Grand Prix, (curated by Axel Huber), Monaco.
Public Domain, (curated by Jorge Ribalta), Centro’ Santa Monica, Barcelona.
Cocktail I, Kunstverein in Hamburg.
Surface de Réparations, (curated by Eric Troncy), FRAC Bourgogne, Dijon.
Backstage, Kunstmuseum Luzern.
Don’t Look Now, (curated by Joshua Decter), Thread Waxing Space, New York.

1993
Unplugged, (curated by Nicolas Bourriaud), Köln.
Dokumentation uber, arbeiten von, Esther Schipper, Köln.
Two out of four dimensions, Centre 181, London.
Backstage, (curated by Stephan Schmidt-Wulffen & Barbara Steiner), Kunstverein in Hamburg.
Manifesto, (curated by Benjamin Weil), Hohenthal und Bergen, München.
Points de Vue, Galerie Pierre Nouvion, Monaco.
Futura Book, Air de Paris, Nice.
The London Photo Race, Friesenwall 120, Köln.
Group Show, Esther Schipper, Köln.
Wonderful Life, Lisson Gallery, London.
Los Angeles International, Esther Schipper at Christopher Grimes, Los Angeles.
Travelogue, (curated by Jackie McAllister), Hochschule fur Angewandte Kunst, Vienna.
Claire Barclay, Henry Bond, Roderick Buchanan, Liam Gillick, Ross Sinclair, Gesellschaft fur Aktuelle Kunst, (curated by Tom Eccles) Bremen.
Territorio Italiano, (curated by Giacinto di Pietrantonio), Milan.

1992
ON, Interim Art, London.
Group Show, Esther Schipper, Köln.
12 British Artists, Barbara Gladstone/SteinGladstone, New York.
Etats Spécifique, Musée d’art moderne, Le Havre.
Manifesto, (curated by Benjamin Weil), Daniel Büchholz, Köln/Castello di Rivara, Turin/Wacoal Arts Centre, Tokyo/Urbi et Orbi, Paris.
Lying on top of a building the clouds look no nearer than they had when I was lying in the street, Monika Sprüth, Köln/Esther Schipper, Köln/Le Case d’Arte, Milan.
Molteplici Culture, (selected by Giorgio Verzotti), Folklore Museum, Rome.
Tattoo Collection, Air de Paris/Urbi et Orbi, Paris/Daniel Büchholz, Köln/Andrea Rosen, New York.

1992
The Multiple Projects Room, Air de Paris, Nice.
Air de Paris à Paris, Air de Paris, Paris.
No Man’s Time, CNAC, Villa Arson, Nice.

1990
The Multiple Projects Room, Air de Paris, Nice.

INTERNAL

2025

2024

2023

2022

2009, Liam Gillick: Deutscher Pavillion La Biennale Di Venezia, Sternberg Press, Berlin.

2009, Meaning Liam Gillick, MIT Press, Cambridge.

2023, Liam Gillick, Filtered Time, Pergamon Museum, Staatliche Museen zu Berlin.

© Liam Gillick 2025