Restructured Diagrammed 2007 From Wall Works Wall covered with pattern in acrylic paint, executed by using a 40 x 40 cm (16 x 16") or 80 x 80 cm (32 x 32") stencil in one of four colors. Overall dimensions according to the wall. Limited to 12 installations, with a signed and numbered certificate giving specific instructions for on-site installation.
65th Floor Lobby Design 1999/2015 From Wall Works Wall painting in acrylic paint with floor to ceiling stripes in up to four colors according to the length of the wall. Limited to 15 installations, with a signed and numbered certificate giving specific instructions for on-site installation.
A short text on the possibility of creating an economy of equivalence 2006 From Door Cycle Stainless steel on laminated wooden door panel with silkscreen in three color variations: white, black and orange. Size: 200 x 90 x 4.2 cm (78¾ x 35½ x 1½"). Edition: 15 (5 in each color), signed and numbered on separate label.
Liam Gillick (born 1964 in Aylesbury, Great Britain, lives and works in London and New York) works in a whole range of different media. His art does not simply consist of spacious installations, graphically complex texts and minimalist objects. He also publishes full-length books, composes film music, arranges exhibitions and produces architectural designs. The "parallelism" of his work is crucial. On the one hand his projects are "free artistic expression"; on the other, they are "applied art", apparently with a clearly defined practical purpose. Between the two spheres of activity, he creates for himself a space for discourse on a wide variety of subjects. Gillick´s aesthetic philosophy transcends the separation between pure theory and simple practicality, and that between poetic fiction and empirical fact. Gillick uses the forms and the materials of abstract art and of the Minimal Art of the sixties as tools to show to which degree our worldwide economic system has become even more abstract than the art of the same name. The title of the work shown here is the same as that of a large exhibition at the Palais de Tokyo, Paris and La Caas Encendida, Madrid in 2005. Both these exhibitions and the door relate to a work in progress - a lengthy text structure that focuses on post-industrial developments in consensus based European cultures. The door is a reference to a moment in the text when the former workers of a now-closed Swedish car factory return to their former workplace and rearrange the signage and information in order to create a new architecture of desire and refusal.
Weekday in Sochaux 2006 Anodized aluminum wall object in four layers/colors, 70 x 70 x 6 cm (27½ x 27½ x 2¼"). The object comes in 4 different color variations (layers rotating in color). Edition: each in an edition of 8, altogether 32; signed and numbered on label.
William H. Danforth... 2009 From the portfolio Forty Are Better Than One [William H. Danforth (When purity was paramount) #2] 6-part leporello, digital pigment print (Ditone) on 188 g Hahnemühle Photo rag paper, 32 x 150 cm (12½ x 59 in). Edition: 75, signed and numbered.
Shelf System A 2008 Powder-coated aluminum, 10 x 20 x 100 cm each element. Shelf consisting of 6 elements to be mounted onto the wall, overall height from floor 180 cm. Three different color combinations; edition of 25 each.
Furniture System 2013 5 pieces, aluminum 4 x 4 cm, powder-coated Dimensions cm: Table 180 long x 90 wide x 74 high Bench 180 long x 40 wide x 44 high Shelf vertical 166 high x 100 wide x 40 deep Shelf horizontal 90 high x 200 wide x 40 deep Table low 100 x 100 x 35 high Colors: Purple, gray, orange, cream, turquoise Limited to an edition of 25 in each color.
From Wall Works
