36 19 ibid pp 56 81 20 mike dawson liam gillick flux

Info iconThis preview shows page 1. Sign up to view the full content.

View Full Document Right Arrow Icon
This is the end of the preview. Sign up to access the rest of the document.

Unformatted text preview: nsiderat ion of exchange, informat ion transfer and strateg y,” while the Big Conference Centre Legislat ion Screen (1998), a 3 x 2 meter colored Plexiglas screen, “helps to define a locat ion where individual act ions are limited by rules imposed by the communit y as a whole.”19 Gillick’s design st ructures have been descr ibed as const ruct ions hav ing “a spat ial resemblance to office spaces, bus shelter s, meet ing rooms and canteens,” but t hey also t ake up t he legacy of Minimalist sculpture and post-Minimalist inst allat ion art (Donald Judd and Dan Graham immediately come to mind).20 Yet 18. Gillick, quoted in Liam Gillick, ed. Susanne Gaensheimer and Nicolaus Schaf hausen (Cologne: Okt agon, 2000), p. 36. 19. Ibid., pp. 56, 81. 20. Mike Dawson, “Liam Gillick,” Flux (August–September 2002), p. 63. Gillick. Revision/22nd Floor Wall Design. 1998. Courtesy the artist and Cor vi-Mora, London. 60 OCTOBER Gillick’s work differ s from that of his art histor ical predecessor s: whereas Judd’s modular boxes made the viewer aware of his/her physical movement around the work, while also drawing attent ion to the space in which these were exhibited, Gillick is happy for viewer s to “just st and with their backs to the work and t alk to each other.”21 Rat her t han hav ing t he v iewer “complete” t he work, in t he manner of Bruce Nauman’s corr idor s or Graham’s video inst allat ions of the 1970s, Gillick seeks a perpetual open- endedness in which his art is a backdrop to act ivit y. “It doesn’t necessar ily funct ion best as an object for considerat ion alone,” he says. “It is somet imes a Gillick. Big Conference Centre Limit at ion Screen. 1998. Courtesy the artist and Cor viMora, London. backdrop or decor rather than a pure content provider.”22 Gillick’s t it les reflect this movement away from the directness of 1970s cr it ique in their use of ironically bland management jargon: Discussion Island, Arrival Rig, Dialogue Platform, Regulat ion Screen, Delay Screen, and Twinned Renegot iat ion Platform.23 These corporate allusions clearly dist ance t he work from t hat of Gr aham, who exposed how apparent ly neut r al architectural mater ials (such as glass, mirror, and steel) are used by the st ate and commerce to exercise polit ical control. For Gillick, the t ask is not to rail against such inst itut ions, but to negot iate ways of improving them.24 A word that he frequent ly 21. Gillick, Renovat ion Filter, p. 16. 22. Gillick, The Wood Way (London: Whitechapel, 2002), p. 84. 23. All of these works were shown in The Wood Way, an exhibit ion at Whitechapel Art Galler y in 2002. 24. However, it is arguable from Gillick’s examples that “improvement” connotes change on just a formal level. In 1997 he was invited to produce work for a Munich bank and descr ibed the project as follows: “I ident ified a problemat ic dead zone in the building—an over sight by the architect s— which I proposed to solve wit h t hese screens. These would subt ly change t he way t he space worked. Interest ingly, however, my proposal made the architect s rethink t...
View Full Document

This document was uploaded on 02/20/2014 for the course PHILOSOPHY 244 at University of Tennessee.

Ask a homework question - tutors are online