LIAM GILLICK
Born in 1964, Aylesbury (UK). Lives in London and New York.
Woodish, 2002
Installation, aluminium, plexiglass, cables, 200 x 200cm
Courtesy of the Javier Lopez gallery
In his works from the end of 1990 Liam Gillick used a lot of coloured plexiglass set in metal in the form of transparent screens or lamps, ambiguous objects between a work of art and design, functionalism and fiction, formalism of good taste and complex conceptualism. These architectural prototypes of indisputable formal seduction affirm themselves, in effect, as metaphors of political and social Utopia, defining spaces where ideally one lives better, as well as metaphors of exchange and of work connected to a business semantic (plans, negotiations, growth, speculation, development, strategy etc.). In fact, they correspond to narratives (for example, the science fiction novel entitled Big Conference Centre by Liam Gillick, released in 1997). More directly, the abstraction of these forms seems to increase the general abstraction of an economic and political world that plays with the transparency of its ideas, its trite expressive vocabulary, and the universal designs of its forms.
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