Liam Gillick

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Publisheronestar press2004
Anna Sanders Films Identity Spot is a monochrome sequence of images derived from an original 20 second colour film produced as an identity spot for Anna Sanders Films, Paris. Anna Sanders was founded by Philippe Parreno, Charles de Meaux and Pierre Huyghe in 1997. Thanks to Lisa Rovner for her role in the film; Tommaso Corvi-Mora, London; Air de Paris, Paris. Sean Dack is an artist based in New York. Liam Gillick is an artist based in London and New York.
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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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“Between Artists” is an ongoing series of books edited by Alejandro Cesarco and originally published by A.R.T. Press. They are based on artist to artist conversations. The conversation format permits a thorough and at the same time informal investigation of the artists’ practice and the larger social issues that inform it. By virtue of their clarity, personal focus, affordability, and innovative method of distribution, these books make possible the presentation of contemporary artists and their work to a wide readership. Since the first “Between Artists” books were released in 2005, they have gained a cult following, and a number of ...
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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. We would like to see a way out of this, but questioning whether cultural work can actually have a real effect on power relations, or whether capital, public or private, should really be a measure of art’s civic or cultural value in the first place, only serves to accelerate the endless cycling—consuming life, finding work, making ...
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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… Editorial Editors To Our Enemies Maurizio Lazzarato and Éric Alliez Permanent Collection Amelia Groom A Building on Fifth Avenue Liam Gillick Plastiglomerate Kirsty Robertson Geontologies: The Figures and the Tactics Elizabeth A. Povinelli The Coming ‘17 Franco “Bifo” Berardi Digital Objects and Metadata Schemes Geert Lovink and Yuk Hui A Hyperbolic Proposition Étienne Balibar This Machine Builds Fascists: ...
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Halmos is a collaborative distribution platform and diachronic publisher. It has facilitated new writing and works by numerous artists including Pamela Rosenkranz, Sam Lewitt, Tobias Madison, Dexter Sinister, Mark von Schlegell, Ed Atkins and many others. Halmos projects have been exhibited at the ICA Philadelphia; Objectif Exhibitions, Antwerp; the Museum of Art and Design, NY; Miguel Abreu, NY; Artists Space, NY; Hessel Museum of Art, NY; and Art in General, NY.

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