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New Left Review 46, July-August 2007


Marcus Verhagen on Liam Gillick, Proxemics. Writings of a graphomaniac artist, with bearings drawn from ‘relational aesthetics’ and a postdated modernism.

MARCUS VERHAGEN

CONCEPTUAL PERSPEX

The articulate, multi-tasking Liam Gillick is an unavoidable presence in today’s art world. Now in his early forties, the British-born artist studied at Goldsmiths College at the same time as several of the ybas, including Damien Hirst and Sarah Lucas. But while they went on to grab headlines with work that ironically replayed old subversions, Gillick developed a more involuted neo-Conceptual idiom. His installations are composed of aluminium and coloured Perspex screens, their clean lines and bright colours recalling high modernist architecture and minimalist sculpture while also pointing to contemporary corporate design and flat-pack furniture. Though best known for these installations, he has worked in video, staged performances, renovated public spaces and composed music.

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Marcus Verhagen, ‘Conceptual Perspex’, NLR 46: £3
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