#Liam Gillick

[arthuntblog]

Liam Gillick (b 1964) [UK + USA] - ‘Blue Flow Line’, 2024. Powder- coated aluminum (45x45x4,5 cm).

[rearte2]

by Liam Gillick, 2006

[peterdoroshenko]

liam gillick

[for-reference-only]

Liam Gillick - The knot of Which I Speak Cannot be Knotted - 2021

[airconditionerkhan]

Liam Gillick, Ann Lee You Proposes, 2001

[noconcessions]

[lesmachins]

Liam Gillick

[rabbitcruiser]

Downtown Vancouver (No. 3)

Located on the Burrard Peninsula, Vancouver lies between Burrard Inlet to the north and the Fraser River to the south. The Strait of Georgia, to the west, is shielded from the Pacific Ocean by Vancouver Island. The city has an area of 115.18 km2 (44.47 sq mi), including both flat and hilly ground and is in the Pacific Time Zone (UTC−8) and the Pacific Maritime Ecozone.

Until the city's naming in 1885, "Vancouver" referred to Vancouver Island and it remains a common misconception that the city is located on the island. The island and the city are both named after Royal Navy Captain George Vancouver (as is the city of Vancouver, Washington, in the United States).

Vancouver has one of the largest urban parks in North America, Stanley Park, which covers 404.9 ha (1,001 acres).[64] The North Shore Mountains dominate the cityscape, and on a clear day, scenic vistas include the snow-capped volcano Mount Baker in the state of Washington to the southeast, Vancouver Island across the Strait of Georgia to the west and southwest, and Bowen Island to the northwest.

Source: Wikipedia

[formlab]

Literally No, Liam Gillick

[dromik]

Liam Gillick - Three Borrowed Gray Rotations, 2021.

[arthuntblog]

Liam Gillick (b 1964) [UK + USA] - ‘Brazil Kalmar Text’, 2006. Water cut powder coated aluminum (170.5 x 98.5 cm).

[rearte2]

by Liam Gillick, 2008

[eahostudiogallery]

Foursquare Gospel

Max Bill

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Liam Gillick - Leveraged Complex

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Richard Paul Lohse

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Dashiell Manley - grid

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Sherrie Levine - After Duchamp from Meltdown

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Selma Parlour - Salon II

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Rana Begum - No. 925 Mesh

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Robert Mangold - Model for Four Color Frame Painting #1

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Randall Jason Irvin

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Piet Mondrian

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Gardar Eide Einarsson - I am a successful young thief, 2007

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Glovaski - Dream House

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Joe Bruha photo

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Sharon Louden -  Windows

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Van Doesburg

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Vilmos Huszar - Figure Composition for a Mechanical Theater

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Wednesday: tour de force

[kgoldtemporarygallery]

ΔΕΚΑ | Έκθεση σύγχρονης τέχνης Εγκαίνια: Παρασκευή 21 Ιουλίου, 20:00 21-30 Ιουλίου 2023 11:00-14:00 και 19:00-22:00  Αγία Παρασκευή Λέσβου Είσοδος ελεύθερη 

Για τα εγκαίνια της έκθεσης, θα υπάρχει δωρεάν λεωφορείο μετ’ επιστροφής από τη Μυτιλήνη προς την K-Gold Temporary Gallery. Αναχώρηση από το σταθμό υπεραστικών λεωφορείων, την Παρασκευή 21 Ιουλίου στις 19:00. Κρατήσεις: 6942202222

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Η K-Gold Temporary Gallery γιορτάζει το καλοκαίρι του 2023 τη δέκατη επέτειο δράσης της στη Λέσβο με την έκθεση «ΔΕΚΑ» σε επιμέλεια του Νικόλα Βαμβουκλή. Παρουσιάζονται αντιπροσωπευτικά έργα μερικών από τους σημαντικότερους εικαστικούς και χορογράφους διεθνώς, οι οποίοι πειραματίστηκαν με το βίντεο και το φιλμ για να καταγράψουν το σώμα σε κίνηση.

Συμμετέχουν οι καλλιτέχνες: Marina Abramović, Allora & Calzadilla, Cory Arcangel, Vanessa Beecroft, Mats Ek, William Forsythe, Liam Gillick & Gelatin, Maria Lassnig, Anna Maria Maiolino, Li Ran και Pipilotti Rist.

Στα εγκαίνια, ο δημόσιος χώρος έξω από τη Gallery πλημμυρίζει από τα δυναμικά beats του Mic Meimaroglou και παραδοσιακές γεύσεις σε ένα πάρτυ που γεφυρώνει τη σύγχρονη μουσική με την τοπική γαστρονομία.

Κατά τη διάρκεια της έκθεσης, η αυλή της Gallery φιλοξενεί την ηχητική εγκατάσταση «24 Χοροί για Ηλεκτρικό Πιάνο» του Cory Arcangel, η οποία παρουσιάστηκε σε μια παγκόσμια περιοδεία που περιελάμβανε το Μητροπολιτικό Μουσείο Τέχνης στη Νέα Υόρκη.

Το κοινό θα μπορεί ακόμα να επισκεφτεί τη βιβλιοθήκη της Gallery που εμπλουτίστηκε το 2023 με πάνω από 500 εκδόσεις — μια σημαντική δωρεά κορυφαίων ελληνικών μουσείων τέχνης και πολιτιστικών ιδρυμάτων.

Τέλος, το εκπαιδευτικό πρόγραμμα της έκθεσης πραγματοποιείται από το βιωματικό πολυχώρο τέχνης «Λευκό Χαρτί» στη Μυτιλήνη με δημιουργικά εργαστήρια για μικρούς και μεγάλους. Πληροφορίες: 6936808204.

Η έκθεση «ΔΕΚΑ» υλοποιείται με την υποστήριξη του Υπουργείου Πολιτισμού, της Πρεσβείας της Βραζιλίας στην Ελλάδα, του Guimarães Rosa Institute, της Πρεσβείας της Ελβετίας στην Ελλάδα και της Αυστριακής Πρεσβείας στην Αθήνα.

[tepot]

"The Museum: A New Social Sculpture" by Simon Wu in Spike Art Magazine 75 Spring 2023

Some have called this the "reparative turn," which has called on institutions to atone for current and historical grievances perpetrated by museums and society more broadly. Writing about documenta fifteen, curated by the Indonesian collective ruangrupa, New York Times art critic Jason Farago described how the show "militated against its own viewing," focusing on work-shops, social gatherings, and "vibing" over visual art: "The real work of the show was not the stuff on the walls but the hanging out around it." Farago continued that this was connected to a larger shift away from aesthetics and toward various forms of social practice observable in museums, art schools, and magazines. Similarly, art historian Barry Schwabsky, writing in 2022 for The Nation, described the recession of the "aesthetic regime," or a turn away from art as a matter of form to increasingly privilege its ethical content. "What if today we are witnessing a return to a time when art is valued for its social utility, its edifying effect on the viewer," he wrote, "more than for its aesthetic valence?"

[...] In 1996, the curator Nicolas Bourriaud coined the term "relational aesthetics" to describe a growing tendency among practitioners to use social scenarios as materials for their art. There were temporary bars (Jorge Pardo's at K21, Dusseldorf; Michael Lin's at Palais de Tokyo, Paris; Liam Gillick's at Whitechapel Gallery, London), reading lounges (Apolonija Sustersi's at Kustverein Munchen, or the changing "Le Salon" program at Palais de Tokyo), and pad thai (Rirkrit Tiravanija's Untitled 1992 (Free) at 303 Gallery in New York), all of which used social situations as readymade performances of sorts. Throughout the 2000s, artists like Thomas Hirschhorn, Tania Bruguera, and Theaster Gates expanded these ideas into sprawling, multi-year projects that came to resemble libraries and community centers. From its inception, relational aesthetics inspired fierce debates over the relationships between utility, art, and civic duty. What did it mean to assess and experience that verged on social services according to ethical as well as aesthetic metrics?

Perhaps we have come to see the museum itself as a big, unwieldy project of relational aesthetics. When I go to a museum now, I want to know: Who sits on the board? What are their investments? Is the staff trying to unionize? What are its ties to both police and local communities? To think of the museum as a kind of collaborative social performance is to imbue its operations with both formal mutability and symbolic potential, positioning all those involved as "artists" engaged in its collective reshaping. This is not to just say that the museum is a work of art, or that it can escape the criticism that "good ethics" make for "bad art" endemic to relational aesthetics. It is more to say that perhaps those aspects that always felt concrete and immovable are feeling more unmoored than ever.

[hautecultural]

LIAM GILLICK