Originally published in Campaign, Serralves Museum of Contemporary Art, Porto.
Exhibition 84 Diagrams at Karsten Schubert, London. Computer drawings of
modernist building façades are drawn using an Apple SE30 and printed onto
Ingres paper. The drawings are passed around by visitors at the opening
reception. The artist considers the work to be a “parallel activity,” a process
of critically engaging with other disciplines alongside art. This interest in
parallel activities continues for the next few years.
Reviews Les Ateliers du Paradise, an exhibition by Pierre Joseph, Philippe
Perrin, and Philippe Parreno at Air de Paris, Nice, for Artscribe magazine.
Starts to write regularly for Artscribe, Art Monthly, Documents sur l’art, and
other magazines and journals. Also begins writing a catalogue essays on other
artists from this point onward.
Begins Documents series with Henry Bond. The artists receive a daily list of
notable forthcoming events from a press agency and attend as photographer and
journalist. One hundred events are attended and documented over three years,
including the resignation of Margaret Thatcher, the inquiry into the Chernobyl
disaster in London, and an early meeting of Lega Nord in Milan.
Coedits Technique Anglaise: Current Trends in British Art with Andrew Renton
for Thames & Hudson. The book is a survey of recent British art, with
projects by the artists and a roundtable discussion with Maureen Paley, Karsten
Schubert, Andrew Renton, and Lynne Cooke.
Participates in No Man’s Time, curated by Nicolas Bourriaud and Eric Troncy at
Villa Arson in Nice. The exhibition also features Angela Bulloch, Philippe
Parreno, Allen Ruppersberg, Felix Gonzalez-Torres, and Dominique
Participates as artist and curator in Molteplici Cultura, organized by Carolyn
Designs a book as contribution to 12 British Artists at Barbara Gladstone in
Gives title to and participates in the group exhibition Lying On Top of a
Building, the Clouds Look No Nearer Than They Had When I Was Lying in the
Street at Monika Spruth and Esther Schipper, Cologne, including Felix
Gonzalez-Torres, Fischli Weiss, Angela Bulloch, Rosemarie Trockel, and others.
Organizes The Speaker Project at the ICA, London, a curated sound project
including John Baldessari, Christian Marclay, Lawrence Weiner, Karen Kilimnik,
Liz Larner, Angela Bulloch, and others.
First solo exhibition at in Nice, titled McNamara, Hog Bikes and GRSSPR. The exhibition
takes place in an apartment in Nice. Franz West produces an concurrent
exhibition for the apartment next door.
Organizes and executes Instructions at Gio’ Marconi in Milan. A curated project
addressing the legacy of conceptual art in Britain. The artworks are produced
by the artist according to the invited artist’s instructions. Artists included
Adam Chodzko, Gary Hume, Gillian Wearing, and Jeremy Deller.
Last works produced in the Documents series with Henry Bond.
Proposes a social center for young people as a public artwork for the city of
Milan. The project is variously known as Milan House, AC/DC Joy Division House,
and Social Center for Teenagers for Milan. The project is not accepted or
Takes part in Backstage at the Kunstverein in Hamburg, curated by Barbara
Steiner and Stefan Schmidt-Wulffen. Exhibits Information Room, which displays
research material and magazine cuttings. Other artists include Dominique
Gonzalez-Foerster, Sean Landers, Heimo Zobernig, Philippe Parreno, Tobias
Rehberger, and Rirkrit Tiravanija.
Participates in Surface de Réparation, curated by Eric Troncy at the FRAC
Bourgogne, Dijon, with Rirkrit Tiravanija, Philippe Parreno, Pierre Huyghe, and
Organizes a parallel communication structure for the exhibition Lost Paradise,
curated by Barbara Steiner, at the Kunstraum, Vienna.
Takes part in The Institute of Cultural Anxiety, curated by Jeremy Millar at
the ICA, London.
First solo exhibition in Germany with Esther Schipper in Cologne. Titled
McNamara, the work comprises a short animated film about former US Secretary of
Defense Robert McNamara and head of the RAND Corporation Herman Kahn. The film
is accompanied by a full-length movie script that becomes the source for a
number of subsequent works. The work is considered the first of a number of
“parallel histories” that will also include the books Erasmus Is Late and
Underground (Fragments of Future Histories).
Writes the catalogue essay for Wall to Wall, at the Serpentine Gallery, Leeds
City Art Gallery, South Bank Centre, Serpentine Gallery, and Southampton City
Art Gallery. An exhibition of site-specific wall paintings including Barbara
Kruger, Lawrence Weiner, and Lothar Baumgarten.
Begins to organize a series of weekly artist talks at Goldsmiths’ College,
which continues until 1997. Invited speakers include Mark Dion, Sarah Lucas,
Franz West, and Steve McQueen.
First solo exhibition with Maureen Paley.
Publishes Philippe Parreno’s book Snow Dancing for the company G-W Press (which
the artist established in 1992 with Jack Wendler in London). Later they produce
the book of the film Vicinato by Carsten Höller, Philippe Parreno, and Rirkrit
Publishes Erasmus Is Late with Book Works, London. A group of people are
waiting in a London house for the arrival of Erasmus Darwin, brother of Charles
Darwin. While they wait, Erasmus Darwin tours the London of 1997, two years in
the future, looking for sites of free thinking. The book is illustrated by the
artist’s mother, Gillian Gillick.
Publishes Ibuka! for the Kunstlerhaus Stuttgart. The book is the outline for a
musical based on Erasmus Is Late. The book and associated exhibition are
organized by Nicolaus Schafhausen. By accident, Ibuka! is published before the
book it is based on.
Produces a video exhibition titled Faction for the Royal Danish Academy of Arts
in Copenhagen. Artists, video magazines, and commercial companies are invited
to be part of the project.
The Moral Maze takes place at Le Consortium in Dijon in collaboration with
Philippe Parreno. Experts in strategic thinking are invited to be interrogated
by the artists over a number of days in Dijon. The specialists include
economists, political strategists, and educationalists. Dominique
Gonzalez-Foerster, Carsten Höller, Maurizio Cattelan, and Lothar Hempel are
present. Douglas Gordon asks for all his text works to date to be sprayed onto
the white walls with gloss white paint.
Invited to make a solo exhibition at the CCC in Tours and presents a curated
sound project titled Stoppage. The artist rearranges the bookshop and changes
some of the ceiling structure, a gesture that anticipates the later discussion
platforms. Jorge Pardo sends a rocking chair instead of a sound work. The work
travels to the Villa Arson in Nice later that year.
First solo exhibition in New York, Part Three, at Basilico Fine Arts.
Alongside Henry Bond, participates in Brilliant: New Art from London, curated
by Richard Flood at the Walker Art Center in Minneapolis. They present the
complete Documents Series as reference prints.
Publishes jointly authored text Forget about the Ball and Get On with the Game
with Rirkrit Tiravanija in Parkett.
Everyday Holiday, in collaboration with Gabriel Kuri, takes place at Magasin,
Grenoble. The artists designate certain days as special holidays such as
Physicists’ Day and Preschool Children’s Day.
First major exhibition of discussion platforms in the solo exhibition The What
If? Scenario at Robert Prime gallery, founded by Tommaso Corvi-Mora and Gregorio
Magnani in London. From this point, focus turns away from parallel activities
and parallel histories toward a mediation of the aesthetic and cultural changes
Takes part in Traffic, curated by Nicolas Bourriaud at the CAPC, Bordeaux.
Exhibits a table tennis table covered in glitter with no net accompanied by
texts about who controls the near future.
McNamara is included in Nach Weimar, curated by Nicolaus Schafhausen and Klaus
Biesenbach at the Landesmuseum, Weimar.
Participates in Life/Live, a survey of artist-run spaces, curated by Hans
Ulrich Obrist at the Musée d’Art Moderne de la Ville de Paris, Paris.
Included in documenta X, Kassel. Writes a text about a fictional meeting in
1972 that proposes documenta and the city of Kassel become a permanent
exhibition without end and inserts it in the documenta archive. Exhibits a
discussion platform and screen.
Takes part in Enterprise at the ICA, Boston, along with Rirkrit Tiravanija.
The book Discussion Island/Big Conference Centre is published by the Orchard
Gallery, Derry, and the Kunstverein in Ludwigsburg. The book is a fiction that
addresses how the future might be imagined in a post-utopian context.
Sailing Alone around the World: A Correspondence with Douglas Gordon is published
Begins teaching ten days a year at Columbia University. The class is run in the
form of two week-long seminars that change form each year.
Writes Prevision, a text for the catalogue of an exhibition by Dominique
Gonzalez-Foerster, Pierre Huyghe, and Philippe Parreno at the Musée d’Art
Moderne de la Ville de Paris, Paris. The essay addresses the way thinking about
the future might be rethought under neoliberal globalization.
Begins a regular column for Art & Text titled Lobby. The title of the
column references the political sense of lobbying and the lobby as an
Works with a group of advisors to create The Trial of Pol Pot in collaboration
with Philippe Parreno at Magasin, Grenoble.
Solo exhibition Révision at the Villa Arson, Nice.
Publishes Ein Rückblick aus dem Jahre 2000 auf 1997 with Matthew Brannon for
the Galerie für Zeitgenössische Kunst as a contribution to the exhibition 1+3 =
4 x 1.
Perché magazine in Milan publishes Liam Gillick and Adrian Piper in
Composes the music for Sarah Morris’s film Midtown and continues to produce the
music for her twelve subsequent films.
Should the future help the past? is published in the Afterall magazine pilot
David, a large solo exhibition curated by Nicolaus Schafhausen, opens at the
Frankfurter Kunstverein. The starting point is the final unmade film by Stanley
Kubrick, which was provisionally titled David. The film finally appeared a few
years after the exhibition with the title AI. One large room within the
exhibition is designed to host a conference on art criticism. First
installation of Applied Resignation Platform, a replacement of the existing
ceiling with a series of transparent, colored Plexiglas panels.
Solo exhibition at Kunsthaus Glarus, curated by Beatrix Ruf. Includes a
tape/slide work about Thamesmead in South London, where Clockwork Orange was
filmed. The exhibition is accompanied by a calendar that runs across the
Lukas & Sternberg, Berlin, publishes a book of selected writings titled
Five or Six.
Solo exhibition at Westfälischer Kunstverein, Münster, titled Consultation
Filter, curated by Susanne Gaensheimer, is accompanied by first survey
catalogue, published by Oktagon, Cologne, and the Frankfurter Kunstverein.
On the invitation of curator Suzanne Cotter, presents Applied Complex Screen, a
temporary commission for the exterior of the of the Hayward Gallery, London, an
icon of Brutalist architecture in Britain completed in 1968 and designed by a
group of architects that included Dennis Crompton, Warren Chalk, and Ron
Herron, who were part of Archigram. The vertical screen is sited over the main
window of the office used for the planning of exhibitions.
First institutional exhibition in the UK, Renovation Filter, Recent Past, and
Near Future, at Arnolfini, Bristol.
Works in collaboration with Maria Lind on the exhibition What If/Tänk Om: Art
on the Verge of Architecture and Design at the Moderna Museet, Stockholm. Takes
the role of a “filter” and focuses on the exhibition design and mediation of
the project. Artists include Rita McBride, Philippe Parreno, Rirkrit
Tiravanija, and Pae White.
Collaborates with Douglas Gordon, Carsten Höller, Pierre Huyghe, Philippe
Parreno, and Rirkrit Tiravanija on the production of the film Vicinato 2.
Writes the music and designs title sequence. The script is developed
First exhibition at Casey Kaplan Gallery, New York.
Releases CD of music titled Liam Gillick Meets Scott Olson in Japan, on the
Whatness label, Frankfurt.
First exhibition with Eva Presenhuber, Firststepcousinbarprize, at Hauser &
Wirth & Presenhuber, Zurich.
Participates in Century City, at Tate Modern with Henry Bond, presenting a
selection from the Documents series archive.
Constructs large screening room in the attic space of Kunst-Werke as
contribution to 2nd Berlin Biennale. The first half of a short text, written on
the ceiling, relates to Pierre Bourdieu’s thinking about the cultural and
corporate spheres. The second half of the text is located in the lobby of a
large office building on the other side of Berlin.
Takes part in the collaborative project Annlee with Pierre Huyghe and Philippe
Parreno and exhibits resulting film as part of an outdoor installation, Annlee
You Proposes, at Tate Britain, London.
Develops and produces Dedalic Convention with Annette Kosak, for the Museum of
Applied Arts (MAK) in Vienna. A second stage takes place at the Salzburger
Kunstverein. The exhibition takes the form of a group project where each artist
integrates their work into the of the Museum of Applied Arts. The title relates
to the 1970s Italian avant-garde music group Dedalus. It is hoped that the
group will hear about the project and spontaneously reunite.
Large public commission for the Kirchdorf School near Krems in Austria. One
part of the work includes a large clock that is permanently stuck two minutes
before the end of school. The other part is a text work that translates Pierre
Bourdieu’s ideas into casual street language.
Publishes Literally No Place with Book Works, London. The book centers on a
utopian commune and addresses the history and potential of applied or activated
utopias. The book is influenced by study of American utopian communities that
functioned without communism.
Large exhibition The Wood Way at The Whitechapel Gallery, London, is
accompanied by a book. The exhibition and the book focus upon the various
abstract discussion platforms and screens that have been produced since the mid-1990s.
Café and auditorium redesign are part of the exhibition.
Creates large wall text derived from the book Literally No Place as
contribution to the inaugural exhibition Startkapital at K21, Dusseldorf.
Nominated for The Turner Prize at Tate, London. Produces a large discussion
platform that fills the entire space. A vitrine holds reference prints of
Gillick’s graphic works, including poster designs, public proposals, and
graphic works for other artists and exhibitions.
Releases CD soundtrack of Sarah Morris’s film Capital, on the Semishigure
First exhibition, Light Technique, at Galerie Meyer Kainer, Vienna.
All Annlee works brought together in No Ghost Just a Shell at the Kunsthalle
Zurich; Van Abbemuseum, Eindhoven; and San Francisco Museum of Modern Art.
Begins work on government civil service building, The Home Office, London.
Works for three years with Farrells architecture firm on façade, canopy,
windows, and curated projects by other artists.
Works with Maria Lind on Telling Histories at the Kunstverein in Munich. The
exhibition is a research structure that allows public access to the historical
archives of the Kunstverein. The artist designs reading areas, archive units,
seating, and a stage area.
Exhibition as part of the Projects series titled Literally at the Museum of
Modern Art, New York.
Creates the seating system for Utopia Station at the Venice Biennale.
Releases Liam Gillick/Rob Mazurek, for the En/Off record label, Kleve.
Publishes Underground (Fragments of Future Histories), with Les maître des
forme contemporains, Brussels, and Les Presses du Réel, Dijon. The book is an
updated version of Gabriel Tarde’s book Fragment d’histoire future (1896).
Collaborates with Philippe Parreno on a short animated film series titled
Briannnnnn & Ferryyyyy, for the Konsthall, Lund. The films are a classic
cat and mouse series where the mouse dies in the first episode.
Exhibition Övningskörning (Driving Practice) at Milwaukee Art Museum.
Participates in Singular Forms (Sometimes Repeated), Art from 1951 to the
Present at the Guggenheim Museum, New York.
First exhibition at Micheline Szwajcer, in Antwerp, titled Underground
(Fragments of Future Histories).
Starts column for Metropolis M magazine in Amsterdam.
Finishes work on The Home Office civil service government building, London.
Exhibition Edgar Schmitz, at the ICA, London, is named after fellow artist and
writer Edgar Schmitz. The form of the exhibition is a reading room where it is
possible to study the Revolver publishing archive. Schmitz curates a film
program as part of the project. A collaborative work by Christopher Wool and
Josh Smith is commissioned to create a “sign” for the exhibition.
Exhibition A Short Text on the Possibility of Creating an Economy of
Equivalence, is curated by Nicholas Bourriaud at the Palais de Tokyo, Paris. MM
design agency remix the exhibition poster. The exhibition concerns production
rather than consumption and the aesthetics of resistance. The exhibition is
connected to the commencement of a book titled Construction of One. It is
decided to continue working on the book into the future without ever publishing
Releases Los Angeles, CD of the soundtrack to a Sarah Morris film, on the
Semishigure label, Kleve.
Briannnnnn & Ferryyyyyy is exhibited at the Kunsthalle Zurich.
Takes part in How to Improve the World, at the Hayward Gallery, London.
Produces a series of posters for every year that the UK Arts Council has
Live performance Construcción de Uno at Tate, London as part of the Tate
Triennial curated by Beatrix Ruf. The work consists of a Volkswagen Golf Mark I
sitting in the middle of the museum. Part of the manuscript Construction of One
is left in the car. Three actors enter the car and encounter the text for the
first time. The credit sequence is a large projection that is as long as the
First exhibition at Kerlin Gallery, Dublin, titled Literally Based on HZ. The
exhibition refers to artist Heimo Zobernig.
Factories in the Snow, written by Lilian Haberer, is published by JRP-Ringier.
The book is an edited version of the author’s PhD thesis on the artist.
Participates in Memorial to the Iraq War, at the ICA, London.
Places a Yamaha Disklavier piano and snow machine on the side of the stage for
Il Tempo del Postino at the first Manchester International Festival. The piano
plays in the gaps between the performances by other artists. Titled Factories
in the Snow, the work is later given to Philippe Parreno who uses it as a trigger
for his own exhibition at the Palais de Tokyo in 2013.
Participates in and co-organizes the free school unitednationsplaza in Berlin.
Based at the rear of a supermarket near Alexanderplatz, the project is the
start of a long relationship with e-flux that includes the publication of
various texts in e-flux journal. The artist also creates the signage for the
Publishes a selection of critical texts as Proxemics: Selected Writing
1988–2006, with JRP-Ringier in Zurich.
Delivers the Hermes Lecture 2008 in Eindhoven for the Hermes entrepreneurs’
network, Den Bosch, and the Research Group of Visual Art at AKV|St Joost Art
Participates in The Sydney Biennale, curated by Carolyn Christov-Bakargiev.
Produces a unique book for each person who contacts the artist.
Gives title to and participates in Theanyspacewhatever, at the Guggenheim
Museum, New York. The exhibition is a survey of the artists who worked together
regularly in the 1990s including Angela Bulloch, Dominique Gonzalez-Foerster,
Pierre Huyghe, Philippe Parreno, and Jorge Pardo.
First stage of a retrospective project titled Three Perspectives and a Short
Scenario, at Witte de With, Rotterdam, curated by Nicolaus Schafhausen. The
exhibition continues at the Kunsthalle Zurich, curated by Beatrix Ruf; Museum
of Contemporary Art, Chicago, curated by Dominic Molon; and the Kunstverein
Munich, curated by Stefan Kalmár. The exhibition divides the spaces between
institutional and artistic zones. The institution can do what they want in
their zone. A selection of ephemeral works, posters, and editions are in the
center of the exhibition and a PowerPoint projection acts as a survey of works,
slowly overwritten by a fragment from the unpublished book Construction of One.
In Munich a series of partitions are produced as the set for a play about
production set in a bar next to a Volvo factory.
Nominated for the Vincent Award at the Stedelijk Museum, Amsterdam.
Works in collaboration with architect Rodrigo Gomez Villaseñor on the Dynamica
Building, Guadalajara, Mexico.
Joins the Graduate Committee of Bard College Center for Curatorial Studies.
During the MCA Chicago installment of Three Perspectives and a Short Scenario,
the artist curated a parallel exhibition titled One Hundred and Sixty-Third
Floor: Liam Gillick Curates the Collection. Based on research in the museum
archives, information about forty years of events and performances are
juxtaposed with works from the collection.
Represents Germany at the Venice Biennale with How Are You Going to Behave? A
Kitchen Cat Speaks. The work relates to the artist’s interest in Margarete
Schütte-Lihotzky, who designed the Frankfurt Kitchen in 1926. An animatronic
cat is placed on top of a large, abstracted kitchen cabinet system. The cat
speaks and relates a story about a cat that can speak.
Completes a large public project on the façade of the Fairmont Pacific Rim in
Vancouver. The work is a repeated stainless steel text installed on the façade
of a large tower that reads Lying on Top of a Building, the Clouds Looked No
Nearer Than When I Was Lying in the Street.
MIT Press publish Meaning Liam Gillick, a reader on the artist’s work with
texts by Peio Aguirre, Julieta Aranda, Johanna Burton, Nikolaus Hirsch, John
Kelsey, Maurizio Lazzarato, Maria Lind, Sven Lütticken, Benoît Maire, Chantall
Mouffe, Barbara Steiner, and Marcus Verhagen.
Book Works, London, publishes Allbooks, a compendium of the artist’s fictional
texts that have been the condensed core of ideas behind the production of many
works. Included are McNamara, Erasmus Is Late, Discussion Island/Big Conference
Center, and Literally No Place.
Films A Guiding Light with Anton Vidokle, for Performa in New York. The film is
shot in a television studio and features Boško Blagojević, Noah Brehmer, Nadja
Frank, Shuddhabrata Sengupta, Danna Vajda, Anna Colin, and Shama Khanna. Tim
Griffin provides the narration. The film is a discussion focusing on new models
of thinking and production.
A large structure titled Aix Pavilion is installed at Chateau la Coste in Aix
en Provence. The stainless steel structure contains a sequence of colored
aluminum sliding screens that can be moved by visitors.
The extensive retrospective exhibition One Long Walk, Two Short Piers takes
place at the Kunst- und Ausstellungshalle der Bundesrepublik Deutschland in
Bonn. The exhibition is accompanied by a catalogue.
The text Why Work? is published as a small, cheap book by Artspace, New
Zealand, and subsequently as a luxurious limited edition by Three Star Books,
Paris. The text is taken from a conference organized by Simon Critchley and
Maria Lind in 2009 featuring papers by Gianni Vattimo and the artist.
Begins involvement with LUMA Arles toward the development of a large-scale art
center on the site of the former SNCF rail yards in Arles, France.
Collaboration with Lawrence Weiner for A Syntax of Dependency: Liam Gillick and
Lawrence Weiner, at Mukha in Antwerp. Mousse publishes a book to accompany the
exhibition. The work comprises a cut linoleum floor that completely covers the
main exhibition space. There are no wall texts, and a voice announces the
exhibition title as you approach up the stairs.
Participates in Abstract Possible at the Museo Tamayo in Mexico City. Writes a
text titled Abstract for the publication that accompanies the exhibition and
takes part in a public discussion on the legacy of applied abstraction.
Exhibits the first version of A Game of War Structure at the Irish Museum of
Modern Art in Dublin. The work is a development of Guy Debord’s version of Le
Jeu de la Guerre. Specialist gamers from Dublin are invited to play the game.
A Guiding Light shown as part of Performa 11, New York.
A reanimation of key works from the 1990s is presented at Bard College. Titled
From 199A to 199B: Liam Gillick, the exhibition is curated by Tom Eccles at the
Hessel Museum of Art. Working with students of the curatorial studies program,
key works are represented in order to test how they function in a post-internet
and self-conscious participatory context. The works include Information Room
(1993), The Moral Maze (1995), and Everyday Holiday (1996).
First exhibition at Alfonso Artiaco, Naples, titled Four Propositions Six
Designs an open cinema setting and informational texts for the presentation of
an Adam Curtis film program. Titled The Desperate Edge of Now, the project
takes place at e-flux in New York and travels to the Home Workspace Program,
With Philippe Parreno and core group members, Tom Eccles, Hans Ulrich Obrist,
and Beatrix Ruf, along with Maja Hoffmann, conceives and organizes To the Moon
via the Beach in the Roman amphitheater in Arles. This first large-scale
project for LUMA Arles involves the transformation of a giant sandscape from a
beach form to a moon form. As the work of transformation takes place, a number
of invited artists work around the arena. Artists involved included Uri Aran,
Daniel Buren, Lili Reynaud-Dewar, Loretta Fahrenholz, Fischli & Weiss,
Dominique Gonzalez-Foerster, Douglas Gordon, Pierre Huyghe, Klara Lidén,
Rirkrit Tiravanija, and Lawrence Weiner.
Completes new façade for the Astra Factory in Gernika. The building is to
become a cultural center in the Basque region.
Designs and installs a new furniture and shelving system for the one-room
Coniston Institute Library in Cumbria, England.
First exhibition at Taro Nasu, Tokyo, titled, Agreements, McNamara, and Lead
Delivers the thirty-eighth Bampton Lectures at Columbia University. Titled
Creative Disruption in the Age of Soft Revolutions, the lectures focus on the
key periods that have been the focus of the artist’s work since the early
1990s. Previous speakers include Jacob Bronowski, Anthony Blunt, Lewis Mumford,
and Fred Hoyle.
Exhibition titled November 1–December 21 by Liam Gillick and Louise Lawler at
Casey Kaplan, New York.
Produces a suite of posters for Nuit Blanche in Paris. The posters address
questions around migration and identity and are pasted up along the canal St.
Participates in 9 Artists, Walker Art Center, Minneapolis, curated by Bart
Ryan, which then travels to MIT in Cambridge. Public discussion with Hito
Steyerl in Minneapolis and keynote lecture in Cambridge.
Stops teaching at Columbia University.
Takes co-lead role alongside Viv Albertine in Joanna Hogg’s film Exhibition.
Attends Locarno and New York film festivals to promote the film.
Installs large outdoor freestanding discussion platform at The Contemporary,
Works with Philippe Parreno and the rest of the LUMA core group on Solaris
Chronicles for LUMA, Arles.
From 199C to 199D takes place at Magasin Grenoble. As with the earlier
incarnation at Bard College, the exhibition is realized in collaboration with
the students of the curatorial program.
Included in The Decade 1984–1999, a reassessment of art from the 1990s at the
Centre Pompidou, Metz.
Produces an exhibition design for Confessions of the Imperfect, 1848–1989–Today
at the Van Abbemuseum, Eindhoven.
Commissioned by the Holland Festival and the Stedelijk Museum to produce a
large public project for the Musemplein in Amsterdam. All-Imitate-Act comprises
a series of large head-in-the-hole panels running down the length of the plaza.
Begins what becomes an ongoing involvement with the new media department of the
National Gallery in Prague. The first step, (a) Moving Image Department, is
followed by further iterations over the next two years.
Participates in the Istanbul Biennale, curated by Carolyn Christov-Bakargiev.
The work is a large equation relating to flow installed on the façade of the
Istanbul Modern Museum.
Participates in the 6th Moscow Biennale of Contemporary Art, curated by
Nicolaus Schafhausen. Contribution is a series of letters sent every day that
appear to have been written in Moscow that concern data and misdirection.
Creates exhibition design for Hotel Theory at Redcat, Los Angeles, curated by
Sohrab Mohebbi. The exhibition examines the use of theory as an art form.
Commissioned by SNCF to produce a new work to coincide with the Paris Climate
Change Conference at Gare du Nord RER station in Paris. The work presents the
original equations relating to the science of climate change produced in the
1960s by Syukuro “Suki” Manabe.
Publishes the book From 199A to 199D, a survey and reassessment of works from
the 1990s with JRP-Ringier, Zurich, to accompany the earlier exhibitions at
Bard and Magasin.
Exhibition What’s What in a Mirror at Dublin City Gallery, The Hugh Lane, as
part of the commemoration of the Easter Rising in 1916.
Curates Development, the first Okayama Art Summit. Thirty-one artists
participate with a large proportion producing new works.
Columbia University Press publishes Industry and Intelligence: Contemporary Art
Since 1820, a book that includes transcriptions of the Bampton Lectures and
additional texts written over recent years.
Completes Structured Expansion for Bard College Center for Curatorial Studies.
The work comprises a research archive and working area.
The exhibition Campaign at Muséo Serralves, Porto, is a one-year-long
exhibition in four parts; each section focuses on a central aspect of the
artist’s work since the 1990s.
Extended Soundtrack for a Lost Production Line, Ton und Film at Eva Presenhuber
in Zurich includes soundtracks by the artist combined with films produced over
the previous ten years.
Begins work on Graphic Archive, gathering all printed works from the last
thirty years. The final archive is exhibited at Esther Schipper in July.
Co-curates Like a Moth to a Flame with Tom Eccles and Mark Rappolt at Ogr in
Turin, bringing together works from major private and museum collection in the
Works in close collaboration with New Order on a series of concerts in
Manchester. Titled ∑(No,12k,Lg,17Mif), the project brings together twelve
musicians and the group in a responsive, articulated structure including
digital mapping that is synchronized with a deconstructed playlist.
Presents The Lights Are No Brighter at the Center at the CAC Vilnius. The
exhibition incorporates some aspects developed during the collaboration with
Collaborates with philosopher John Rajchman on the exhibition and book project
Schreibtischuhr at Meyer Kainer in Vienna.
Further concerts with New Order in Turin and Vienna. A full-length documentary
is produced about the project for Sky Arts television.
Completes large-scale installation titled Triangular Passage Work for the lobby
of Olympic Tower, New York.
Begins construction of a small guest house in Okayama, Japan, in collaboration
with Mt. Fuji architects.
Work in the form of an Audioguide is presented as part of the Kunsthaus Zurich
exhibition Fly me to the Moon, marking the 50th anniversary of the Apollo moon
Designs the exhibition structure for Bau(Spiel)Haus at the Neues Museum,
Nürnberg to mark the 100th Anniversary of the Bauhaus.
Produces a series of large graphic posters to coincide with ART + CLIMATE =
CHANGE, 2019 in Melbourne.
Solo exhibition of films since 2008 at the Madre Museum, Naples.