Liam Gillick

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PublishersSternberg Presse-flux2011
Let’s be clear about something: it is infuriating that most interesting artists are perfectly capable of functioning in at least two or three professions that are, unlike art, respected by society in terms of compensation and general usefulness. When the flexibility, certainty, and freedom promised by being part of a critical outside are revealed as extensions of recent advances in economic exploitation, does the field of art become the uncritical, complicit inside of something far more interesting?
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PublisherA.R.T. Press2006
In this highly informative and thought provoking conversation Gillick and Weiner address some of the most contested topics in contemporary critical debate: the role of art in the community, art institutions and artists’ egos, class antagonism as a visual style, audience participation and responsibilities, collaboration, curatorial practices, and art education.
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PublisherPaper Monument2012
Draw It with Your Eyes Closed: the Art of the Art Assignment is a unique and wide-ranging anthology featuring essays, drawings, and assignments from over one hundred contributors including John Baldessari, William Pope.L, Mira Schor, Rochelle Feinstein, Bob Nickas, Chris Kraus, Liam Gillick, Amy Sillman, James Benning, and Michelle Grabner. Bringing together assignments, anti-assignments, and artworks from both teachers and students from a broad range of institutions, we hope it simultaneously serves as an archive and an instigation, a teaching tool and a question mark, a critique and a tribute.
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Publishere-flux2019
Koichiro Osaka’s text for this issue begins at the Sunshine 60 skyscraper in Tokyo. According to myth and a historical reading, the skyscraper is named for the sixty Japanese war criminals executed in 1948 in what was then Sugamo Prison. In 1978, the former prison became the tallest skyscraper in Asia. As Osaka explains, Sunshine 60 may be the largest war monument ever built. The building serves at once as a haunted gravesite and reassurance of the ongoing sunshine of fascism and capitalism. Also in this issue, Françoise Vergès describes a daily ritual in multiple urban centers where thousands of black ...
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Publishere-flux2020
Following the collapse of the Soviet Union, a “global” art world began to form. Sure, there were already a number of world’s fairs and established international biennials, but this would be different. From the 1990s onward, national boundaries would dissolve, centers and peripheries would level out, and the internet would host worldwide cultural exchange. In many ways this really did happen, but some other things also happened. As people and ideas began to move across borders, money did too. Faced with an unmanageable planetary scale, capital became a more efficient regulator of flows than laws or nations. Suddenly, capital rose ...
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Publishere-flux2010
Things would be much simpler if there existed a consistent means of evaluating art’s capacity to provide a concrete value for people. It’s a problem to which capital provides the most immediate solution—beyond the mundane routine of the art market, Brandeis University’s (ongoing) attempt to close their Rose Art Museum and liquidate its entire collection stands as a particularly unfortunate example of how a priceless collection of art, given the right circumstances (total financial meltdown), still finds its price. One is also reminded of the tragic decision by Middlesex University to close its renowned philosophy department in order to cut ...
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Publishere-flux2009
The nature of artistic speculation is, in part, to create new spaces and defer their use to others. While the pioneer gets first dibs in deciding the ideologies and governing principles of the spaces he creates, he is seldom present to see his planning in practice—he is off to new adventures while the subject must find ways of translating this vision into something inhabitable. Beyond the issue of governance, these circumstances beg the deeper question of the potential for simply inhabiting existing spaces, for properly addressing important questions that have already been asked before seeking the questions of the future. ...
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Publishere-flux2010
Could it be that contemporary art is neoliberalism in its most purified form? At the center of our December issue is a constellation of unusually frank essays mounting an indictment of contemporary art’s complicity with gentrification and capital accumulation, with processes of divestiture and exploitation… Editorial Julieta Aranda, Brian Kuan Wood, Anton Vidokle Exhaustion and Senile Utopia of the Coming European Insurrection Franco Berardi Bifo A Letter from Donetsk: Art Amidst the Roses Ekaterina Degot Contemporary art does not account for that which is taking place Liam Gillick In Conversation with Hakim Bey Hans Ulrich Obrist Culture Class: Art, Creativity, Urbanism, Part I Martha Rosler Politics of Art: Contemporary Art and the Transition to ...
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Publishere-flux2009
These days, it is fairly clear that we consider art to be a trans-disciplinary field in a position to nurture other disciplines, and to be nurtured by these other disciplines in turn. As promising as this might sound, the terms for this exchange become significant, because it remains unclear what exactly we presume art to offer to the world. When hard pressed, we usually prefer not to prequalify the nature of artistic contribution at all, because in fact artists reserve the right to offer nothing other than doing work on their own terms. This requires a delicate balance, and it ...
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Publishere-flux2016
In Poland, the Law and Order Party has fired a curator for promoting Jewish themes. A Catholic Nationalist is chief adviser to American president-elect Donald Trump. Hungary’s right-wing government threatens the Lukács archive with destruction. Modi’s BJP arrests a college student president for insulting “Mother India.” Theresa May replaces paintings in 10 Downing Street with framed pictures of her own quotes. The curtain rises on the second century since the Russian Revolution to reveal a lifeworld beset with problems shocking in their undead familiarity. It is true that the future is unknown and invisible, but not everything invisible and unknown contains ...
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PublisherHalmos2010
Written in 1733, Memoirs of the Twentieth Century is widely regarded to contain the earliest known conception of time-travel and, in particular, the first cognitive leap that would allow for a historicized image of the present as seen from the point of view of a distant future. Intriguingly, it is the text itself which is claimed to have traveled back in time and Madden has used this conceit to satirize his own period – tracing out its bureaucratic absurdities into a strange yet pointed vision of the late 20th century: a world politically fraught, overwhelmed with corruption and struggling to ...
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This year’s Annual is published in tandem with a long-term installation of The Serving Library’s collection of (mostly) framed objects at 019, an artist-run exhibition, performance and work space in a former welding factory in Ghent, Belgium. Apparently, the sole common denominator of the objects in the collection — which range from paintings, photographs, and record sleeves, to a can of green paint, a German car license plate, and an ouija board — is to have appeared as illustrations in an issue of The Serving Library Annual or one of its immediate antecedents, Bulletins of The Serving Library or Dot Dot ...

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