THINGS TO DO 12 Things to Do in New York’s Art World Before February 12 By Paul Laster Liam Gillick, Raised Laguna Discussion Platform (Job #1073), 2013. Installation view, The Contemporary Austin. (Photo: Dave Mead) Opening: “Liam Gillick: Phantom Structures” at Casey Kaplan A British conceptual artist who lives and works in New York, Liam Gillick returns for his eighth solo show at this gallery since 2003. Presenting two new bodies of work, the exhibition offers a look at the artist’s conceptual and abstract investigations, developed within his practice over the past 15 years. The first component is a series of phantom wall texts, such as “Run to the nearest town. OK, I’m going to run to the nearest town” and “Shattered factories in the snow.” These enigmatic phras- es are interspersed with abstract sculptural structures, which consist of white powder-coated alu- minum frameworks holding sheets of colored Plexiglas, which—much like the texts on the walls— redefine the architectural space of the gallery. Although they are pure abstractions, the sculptures are visually read in a linear mode, making the two elements flow together in similar fashion. Casey Kaplan, 121 West 27 Street, New York, 6-8 p.m. Laster, Paul, “12 Things to Do in New York’s Art World Before February 12”, New York Observer (online), February 8, 2016 LIAM GILLICK: CAMPAIGN FROM 28 JAN 2016 TO 03 JAN 2017 AN EXHIBITION IN FOUR MOMENTS This first exhibition in Portugal of Liam Gillick (1964, Aylesbury, UK) takes the form of an evolving presentation over one year that reflects Gillick’s long-standing engagement with questions of process, participation, collectivity and decision-making, and of which his varied approach to language and the language of space is an expression. In ‘Campaign’ Gillick presents a progressive overlaying of spatial and performative situations, including sound, sculptural and text-based works that have existed as early prototypes or sketches, but have never been produced on the architectural scale for which they were initially intended. In these works, Gillick poetically addresses themes such as time, history and duration, and the visual and spatial codes of the social. ‘Campaign’ is organized by the Serralves Museum of Contemporary Art, Porto and is curated by Suzanne Cotter, Director, as- sisted by exhibition curator Filipa Loureiro. London – Liam Gillick: “The Thought Style Meets the Thought Collective” Is On View at Maureen Paley by O.C. Yerebakan On view at Maureen Paley through November 22nd is a solo exhibition by prominent British conceptualist Liam Gillick, continuing the artist’s vastly interdisciplinary practice mining fluid and interconnected social norms, and scrutinizing the overt or arcane methods that agents of society pursue in response to such dynamics. Liam Gillick, The Thought Style Meets The Collective (Installation View) A preeminent figure in the development of Relational Aesthetics, Gillick was included in 1996’s influential ex- hibition Traffic, curated by Nicolas Bourriaud. Gillick, in his current exhibition, incorporates his earlier works from the 1990’s with more recent pieces, delivering what he does best: orchestrating a united visitor experi- ence in which works gain momentum through interaction. The pieces on view are often pulled from decades ago, yet share distinct qualities of being created in a collective action, tying to Gillick’s current inspirationL anthropologist Mary Douglas’ interpretations of Ludwik Fleck, who is quoted on the press release via an excerpt. “Thinking is a collective activity” says Fleck, cementing Gillick’s premise for his equally conceptual and engaging exhibition. A broadcast from 1887 on the Subject of our Time, for example is a piece from 1996, employing a vintage radio broadcasting a text about radio broadcasting from a book written by Edward Bellamy in 1887, before this technology was invented. Next to such audial stimulation, Gillick introduces a text-based body of new works, adopting the striking allure of neon as linguistic element, pushing twists in language and perception Liam Gillick, The Thought Style Meets The Thought Collective (Installation View) Liam Gillick, The Thought Style Meets The Thought Collective (Installation View) alongside the droning radio work. Abstract textual inversions such as “IN THE THOUGHT STYLE ‘S’” or “IN THE EPOCH ‘E’” shine on gallery walls as a part of a new series that is appropriately titled Discussion Platforms. The works make much of their attempts to define spaces and containers for thought, as if a concrete, almost numeral application to language could create new spaces for perception or revolution. Either way, Gillick’s point towards this thought is perhaps enough to actualize it. Liam Gillick: The Thought Style Meets the Thought Collective is on view at Maureen Paley through November 22, 2015. Yerebakan, O.C., “London – Liam Gillick: “The Thought Style Meets the Thought Collective” Is On View at Maureen Paley Through November 22nd, 2015”, ArtObserved (online), November 1, 2015 Disruptive art: Liam Gillick explores collective tensions at Maureen Paley ART/ 16 OCT 2015 /BY EMMA HOPKINSON 'An isolated investigator without bias and tradition, without forces of mental society acting upon him... would be blind and thoughtless,' is the assertion behind Liam Gillick's latest exhibition, 'The Thought Style Meets the Thought Collective'. Pictured: the bucket Gillick used to mix the glitter and vodka for his 'glitter floor' installa- tion. Photography: Lucy Beech. Courtesy Maureen Paley, London Liam Gillick is an artist of context. His life's works have strayed from the ivory tower of autonomy and made the assertion that everything is part of something; that you can't see the one without under- standing the whole. His latest exhibition is based on anthropologist Mary Douglas and sociologist Ludwik Fleck's asser- tion that 'an isolated investigator without bias and tradition, without forces of mental society acting upon him, and without the effect of the evolution of that society, would be blind and thoughtless'. 'The Thought Style Meets the Thought Collective' is a sharp look at the way tensions and cohesion arise and diminish through the group production of creative work. Placed in Maureen Paley's gal- lery in Bethnal Green – itself a Mecca for disruptive art – the pieces on show span some of Gillick's collectively-produced work from the 1990s and new pieces he's crafted himself. Wander the works of one of the original YBAs and pick up his new book From Nineteen Ninety A To Nineteen Ninety D – a selected survey of the artist’s groundbreaking projects, installations, methods, and practices. A solid chance to see the progression of a little piece of art history. Hopkinson, Emma, “Disruptive art: Liam Gillick explores collective tensions at Maureen Paley”, Wallpaper (online), October 16, 2015 02/04 Lucas Cranach's illustration of grappling techniques from the military treatise The Art of Wrestling: Eighty-Five Devices (1539) 06.19.15 / 07:05:52 EDT enough. I told her. I am making a conscious effort place. My level of interest is off the charts. I am to ensure that the bare minimum, and nothing buzzed. I walked in the other day and shouted, more, is achieved. Get it? Now she will be “Don’t spend another minute on this shit until we impressed. In total “agreeance” with me. That’s get a sample of collector appetite.” Apple polish all I ask for in the studio. A degree of everything, that’s my new motto. Suck up and “agreeance.” It’s a much fancier way of saying flatter some egos for a change. Back home agreement, don’t you think? “Are we in they’re all armchair generals. 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