www.liamgillick.info

Born 1964, Aylesbury, United Kingdom.
Lives and works in London, UK and New York, USA.

Selected Press

200-percent.com, July 2017

Artforum, October 2016

Mousse, Summer 2016

wallpaper.com, 16 October 2015

Flash Art, 2012

Education

1983-1984 Hertfordshire College of Art
1984-1987 Goldsmiths College, University of London, B.A. (Hons.)

Awards

2008 Vincent Award, nomination, Stedelijk Museum, Amsterdam, The Netherlands.
2002 Turner Prize, nomination, Tate Britain, London, UK.
1998 Paul Cassirer Kunstpreis, Berlin, Germany.

Solo Exhibitions

  • (C) denotes catalogue published in conjunction with the exhibition.

  • 2019

    Madre Museum, Naples, Italy
    Maureen Paley, London

  • 2018

    Kerlin Gallery, Dublin, Ireland
    Gallery Baton, Seoul, South Korea

  • 2017

    The Lights are No Brighter at the Centre, Contemporary Art Centre, Vilnius, Lithuania
    Extended Soundtrack For A Lost Production Line: Ton und Film, Eva Presenhuber, Zürich, Switzerland
    Were people this dumb before TV? Grafische Arbeit 2000-2016, Esther Schipper, Berlin, Germany.
    Meyer Kainer, Vienna, Austria

  • 2016

    Liam Gillick: What’s What in a Mirror, Dublin City Gallery, The Hugh Lane, Dublin, IR
    CAMPAIGN, Serralves Museum of Contemporary Art, Porto, Portugal (C)
    Phantom Structures, Casey Kaplan, New York, USA.
    The Red Wood Pigeon Meets Some Meetings, Air de Paris, Paris, France.
    Taro Nasu, Tokyo, Japan.

  • 2015

    THE THOUGHT STYLE MEETS THE THOUGHT COLLECTIVE, Maureen Paley, London, UK.
    Alfonso Artiaco, Naples, Italy.
    1 Rue Gabriel Tarde, Sarlat-La-Canéda, Dordogne, Galerie Micheline Szwajcer, Brussels, Belgium.

  • 2014

    De 199C à 199D, Le Magasin, Grenoble, France (C).
    Revenons À Nos Moutons, Esther Schipper, Berlin, Germany.
    Complete Bin Development, Galerie Hans Mayer, Düsseldorf, Germany.

  • 2013

    Vertical Disintegration, Taro Nasu, Tokyo, Japan.
    November 1 – December 21, with Louise Lawler, Casey Kaplan, New York, USA.
    Liam Gillick, The Contemporary Austin, Austin, Texas, USA.
    From Fredensborg to Halen via Loch Ruthven Courtyard Housing Projections, HICA, Dalcrombie, Inverness-shire, UK.
    For the doors that are welded shut, Kerlin Gallery, Dublin, Ireland.
    Five Structures and a Shanty, Gallery IHN, Seoul, South Korea.

  • 2012

    Four Propositions Six Structures, Alfonso Artiaco, Naples, Italy.
    Margin Time, Maureen Paley, London, UK.
    From 199A to 199B: Liam Gillick, Hessel Museum of Art, Bard College, Annandale- on-Hudson, New York, USA.
    Scorpion and und et Felix, Casey Kaplan, New York, USA.
    Agreements, McNamara and Lead Times, Taro Nasu, Tokyo.
    Scorpion or Felix, Galerie Eva Presenhuber, Zurich, Switzerland.

  • 2011

    Sit on the machine, Galerie Micheline Szwajcer, Antwerp, Belgium.
    Sit on the machine Air de Paris, Paris, France.
    A game of war Structure, IMMA, Dublin, Ireland.
    A Syntax of Dependency: Liam Gillick and Lawrence Weiner, Mukha, Antwerp, Belgium.

  • 2010

    1848!!!, Esther Schipper, Berlin, Germany.
    One long walk… two short piers, KAH, Bonn, Germany.
    Seven Structures and a large vodka soda, Kerlin Gallery, Dublin, Ireland.
    Discussion Bench Platforms/A “Volvo” Bar + Everything Good Goes, Casey Kaplan, New York, USA.
    Everything Good Goes, Meyer Kainer, Vienna, Austria.

  • 2009

    How will you behave: A kitchen cat speaks, German Pavillion, Venice Biennale, Italy.
    Three Perspectives and a Short Scenario, Museum of Contemporary Art, Chicago, USA.
    Executive 2 litre GXL, MAK, Vienna, Austria.
    Wall diagrams from the 1990s and early 2000s, House of Art, Budweis, Czech Republic.
    Two Short Plays, Eastside Projects, Birmingham, UK.

  • 2008

    Three Perspectives and a Short Scenario, Witte de With, Rotterdam, The Netherlands.
    Three Perspectives and a Short Scenario, Kunsthalle, Zürich, Switzerland.
    The State Itself Becomes a Super Whatnot, Casey Kaplan, New York, USA.
    Three Perspectives and a Short Scenario, Kunstverein München, Munich, Germany.

  • 2007

    The state/commune itself becomes a super state/commune, Micheline Szwajcer, Antwerp, Belgium.
    Weekend in So Show, The Lab, Belmar, USA.
    The commune itself becomes a super state, Corvi-Mora, London, UK.

  • 2006

    We are Medi(evil), Angela Bulloch and Liam Gillick, Cubitt, London, UK.
    Briannnnnn & Ferryyyyyy, Liam Gillick and Philippe Parreno, Kunsthalle Zürich, Switzerland.
    Literally Based on HZ, Kerlin Gallery, Dublin, Ireland.
    The State itself becomes a super commune, Esther Schipper, Berlin, Germany.

  • 2005

    222nd Floor, Eva Presenhuber, Zürich, Switzerland.
    A short text on the possibility of creating an economy of equivalence, Palais de Tokyo, Paris, France
    Another 2004 Again, Baltimore Museum of Art, USA.
    Presentism, Corvi-Mora, London, UK.
    Factories in the snow, Meyer Kainer, Vienna, Austria.
    McNamara Motel, CAC Malaga, Spain.
    A short text on the possibility of creating an economy of equivalence, Casa Encendida, Madrid, Spain.
    As you approach the edge of town the lights are no softer than they were in the centre, Casey Kaplan, New York, USA.

  • 2004

    Construccion de Uno, Javier Lopez, Madrid, Spain.
    A Group of People, Air de Paris, Paris, France.
    Liam Gillick, Aspen Art Museum, Aspen, USA.
    Övningskörning (Driving Practice), Milwaukee Art Museum, USA.
    Underground (Fragments of Future Histories), Galerie Micheline Szwajcer, Antwerp, Belgium.

  • 2003

    Hills and Trays and…, Schipper & Krome, Berlin, Germany.
    …Punctuated Everydays, Max Hetzler, Berlin, Germany.
    Por Favor Gracias de Nada (with Gabriel Kuri), Kurimanzutto, Mexico City, Mexico.
    Exterior Days, Casey Kaplan, New York, USA.
    Communes, Bars and Greenrooms, The Powerplant, Toronto, Canada.
    Projects 79: Literally, Museum of Modern Art, New York, USA.
    A Film, A Clip and a Documentary, (with Sean Dack), Corvi-Mora, London, UK.

  • 2002

    The Wood Way, The Whitechapel Gallery, London, UK.
    Light Technique, Galerie Meyer Kainer, Vienna, Austria.
    Liam Gillick, Rüdiger Schöttle, Munich, Germany.

  • 2001

    Firststepcousinbarprize, Hauser & Wirth & Presenhuber, Zürich, Switzerland.
    Liam Gillick, Javier Lopez, Madrid, Spain.
    Liam Gillick, Corvi-Mora, London, UK.
    Annlee You Proposes, Tate Britain, London, UK.
    Dedalic Convention, Salzburg Kunstverein, Austria.

  • 2000

    Applied Complex Screen, Hayward Gallery, London, UK.
    Liam Gillick, Galleri Charlotte Lund, Stockholm, Sweden.
    Liam Gillick, Schipper und Krome, Berlin, Germany.
    Consultation Filter, Westfälischer Kunstverein, Münster, Germany.
    Schmerz in Einem Gebäude, Fig 1, London, UK.
    Woody, CCA Kitakyshu, Japan.
    Literally No Place, Air de Paris, Paris, France.
    Renovation Filter, Recent Past and Near Future, Arnolfini, Bristol, UK.
    Liam Gillick, Casey Kaplan, New York, USA.

  • 1999

    Liam Gillick, Kunsthaus Glarus, Glarus, Switzerland.
    Liam Gillick, Rudiger Schottle, Munich, Germany.
    David, Frankfurter Kunstverein, Frankfurt, Germany.

  • 1998

    When do we need more tractors?, Schipper & Krome, Berlin, Germany.
    The Trial of Pol Pot, (with Philippe Parreno), Le Magasin, Grenoble, France.
    Liam Gillick, c/o Atle Gerhardsen Oslo, Norway.
    Liam Gillick, Kunstverein in Hamburg, Germany.
    Up on the twenty-second floor, Air de Paris, Paris, France.
    When Purity Was Paramount, British Council, Prague, Czech Republic.
    Big Conference Center, Orchard Gallery, Derry, UK.
    Liam Gillick, Robert Prime, London, UK.
    Révision: Liam Gillick, Villa Arson, Nice, France.

  • 1997

    Discussion Island, Basilico Fine Arts, New York, USA.
    Discussion Island – A What if? Scenario Report, Kunstverein Ludwigsburg, Germany.
    A House in Long Island, Forde Espace d’art contemporain, L’Usine, Geneva, Switzerland.
    Another Shop in Tottenham Court Road, Transmission Gallery, Glasgow, UK.
    McNamara Papers, Erasmus and Ibuka Realisations, The What If? Scenarios, Le Consortium, Dijon, France.
    Reclutamento!, Emi Fontana, Milan, Italy.

  • 1996

    Erasmus is Late ‘versus’ The What If? Scenario, Schipper & Krome, Berlin, Germany.
    Liam Gillick, Raum Aktuelle Kunst, Vienna, Austria.
    The What If? Scenario, Robert Prime, London, UK.
    Documents, (with Henry Bond), Schipper & Krome, Köln, Germany.

  • 1995

    Ibuka! (Part 1), Air de Paris, Paris, France.
    Ibuka!, Galerie Emi Fontana, Milan, Italy.
    Part Three, Basilico Fine Arts, New York, USA.
    Documents, (with Henry Bond), Kunstverein ElsterPark, Leipzig, Germany.

  • 1994

    McNamara, Schipper & Krome, Köln, Germany.
    Documents, (with Henry Bond), Ars Futura, Zurich, Switzerland.
    Liam Gillick, Interim Art, London, UK.

  • 1993

    Documents, (with Henry Bond), CCA, Glasgow, UK.
    An Old Song and a New Drink, (with Angela Bulloch), Air de Paris, Paris, France.

  • 1992

    McNamara, Hog Bikes and GRSSPR, Air de Paris, Nice, France.

  • 1991

    Documents, (with Henry Bond), Karsten Schubert Ltd, London, UK.
    Documents, (with Henry Bond), A.P.A.C., Nevers, France.
    Documents, (with Henry Bond), Gio’ Marconi, Milan, Italy.

  • 1990

    84 Diagrams, Karsten Schubert Ltd, London, UK.

Two Person Exhibitions

  • 2018

    Liam Gillick and Adam Pendleton, Eva Presenhuber, New York, NY, USA

Collaborative and Curated Projects

  • 2017

    Schreibtischuhr, Galerie Meyer Kainer, Vienna, Austria
    Like a Moth to a Flame, curated by Tom Eccles, Liam Gillick and Mark Rappolt, OGR Torino and Fondazione Sandretto Re Rebaudengo, Turin, Italy

  • 2016

    Development, Okayama Art Summit, Okayama, Triennial, Japan
    Cool Your Jets (with Jonathan Monk), Quartz Studio, Torinio, Italy
    LA Dance Project – Mixed Bill, Sadlers Wells, London

  • 2014

    Confessions of the Imperfect, 1848-1989-Today, Van Abbemuseum, Eindhoven, The Netherlands.
    International Company of Wagons Lit etc. etc., (with Rachel Harrison), Meyer Kainer, Vienna, Austria.
    Solaris Chronicles, Luma Foundation, Arles, France.

  • 2013

    Adam Curtis, The desperate edge of now, Home Workspace Program, Beirut, Lebanon.
    The Lie and the Powerpoint, Falke Pisano, Liam Gillick, Benoit Maire, Shanaynay, Paris, France.

  • 2012

    To the Moon Via the Beach (with Philippe Parreno), The Amphitheatre, Arles, France.
    Adam Curtis, The desperate edge of now, e-flux, New York, USA.

  • 2010

    A Guiding Light, (with Anton Vidokle), Performa, New York, USA.
    Liam Gillick and Gareth Long, Who invented the desk, The Apartment, Vancouver, Canada.

  • 2009

    The one hundred and sixty-third floor, Liam Gillick curate the collection, MCA Chicago, USA.

  • 2008

    The Night School, The New Museum, New York, USA.

  • 2007

    unitednationsplaza, Berlin, Germany.
    Il Tempo del Postino, Manchester Festival, Manchester, UK.

  • 2005

    Edgar Schmitz, ICA, London, UK.
    Briannnnnn & Ferryyyyyy, (with Philippe Parreno), Vamiali’s, Athens, Greece.

  • 2004

    Rider: Law and Creativity Briannnnnn & Ferryyyyyy, (with Philippe Parreno), Konsthall, Lund, Sweden.

  • 2003

    Telling Histories, Kunstverein München, Munich, Germany.

  • 2002

    Dark Spring, (with Nicolaus Schafhausen and Markus Weisbeck), Stiftung Ursula Blickle, Kraichtal-Uö, Germany.

  • 2001

    Dedalic Convention, (with Annette Kosak), MAK, Vienna, Austria.
    Dedalic Convention/Du und Ich, (with Annette Kosak and Gary Webb), Salzburger Kunstverein, Salzburg, Austria.

  • 2000

    itsapoorsortofmemorythatonlynunsbackwards, Goldsmiths College, Creative Curating, London, UK.

  • 1999

    Oldnewtown, Casey Kaplan, New York, USA.

  • 1998

    The Trial of Pol Pot (with Philippe Parreno), Le Magasin, Grenoble, France.

  • 1996

    Everyday Holiday (with Gabriel Kuri), Le Magasin, Grenoble, France.

  • 1995

    Faction, Royal Danish Academy of Arts, Copenhagen, Denmark.
    The Moral Maze (with Philippe Parreno), Le Consortium, Dijon, France.
    Stoppage, CCC, Tours, France.
    Stoppage, Villa Arson, Nice, France.

  • 1992

    Instructions, Gio’ Marconi, Milan, Italy.
    The Speaker Project, ICA, London, UK.

Live Events

  • 2018

    ∑(No,12k,Lg,18Ogr) New Order + Liam Gillick: So it goes.., OGR Torino, Turin, Italyand Vienna Festival, Halle E, Museums Quartier, Wien, Vienna

  • 2017

    ∑(No,12k,Lg,17Mif) New Order + Liam Gillick: So it Goes… , Granada Studios, Manchester International Festival, Manchester, UK

  • 2006

    Construcción de Uno, Tate Britain, London.

Public Projects & Other Commissions

  • 2015

    Fourier Transform (Located), ECB, Frankfurt Am Main, Germany.
    JTI, Geneva, Switzerland.
    Pressehaus Ringier, Switzerland.

  • 2014

    Incised Verification Structure, Kristallen, Lund, Sweden.
    Maharam, Los Angeles, USA.
    Directed Development Array, Leeum, Seoul, South Korea.

  • 2012

    Coniston Institute Library, Coniston, UK.
    Astra Factory, Gernika, Basque Region, Spain, Madrid, Spain.
    Swiss Re, Zurich, Switzerland.

  • 2011

    Maharam, Chicago, USA.

  • 2010

    La aparente union del cielo y la tierra, Locust Projects, Miami, USA.
    Centene Plaza, St. Louis, USA.
    Aix Pavilion, Chateau la Coste, Aix en Provence, France

  • 2009

    Fairmont Pacific Rim, Vancouver, Canada

  • 2008

    Dynamica Building, Guadalajara, Mexico.

  • 2007

    Lufthansa, Frankfurt, Germany.
    Factory in the Snow, Tierra y ammonia, Guadalajara, Mexico.
    Full scale model of a social structure for a plaza in Anyang, Anyang, South Korea.

  • 2006

    Maharam, Chicago, USA.

  • 2005

    Dior Homme, Shanghai, China (with Sean Dack).
    BSI, Lugano, Switzerland.

  • 2004

    Museum in Progress, Rolling Boards, Vienna, Austria.
    Swiss Re, London, UK.

  • 2003-5

    The Home Office, London, UK.

  • 2003

    Ft. Lauderdale/Hollywood International Airport, USA.
    Regents Place – British Land, London, UK.
    Headache, phone card, soda, donuts, stereo, London Underground/Frieze Art Fair, London, UK.

  • 2002

    Dekabank, Frankfurt, Germany.
    Alcobendas, Madrid, Spain.
    Kirchdorf School, South Africa.
    Mercat, Alicante, Spain.
    Olnick Corporation, New Jersey, USA.

  • 2001

    Telenor, Oslo, Norway.

  • 1999

    BIC Technologiezentrum, Leipzig, Germany.

Screenings

  • 2018

    CAC Vilnius, Vilnius, Lithuania

  • 2015

    Hamilton: A Film by Liam Gillick, in L’exposition d’un film, Centre Pompidou, Paris, France
    Hamilton: A Film by Liam Gillick, Barbican Centre, London, UK

  • 2014

    Hamilton: A Film by Liam Gillick, followed by a discussion with Liam Gillick and graphic designer Peter Saville, ICA, London, UK

Recorded Works

2010 Liam Gillick and Corinne Jones, Brigade Commerz.
2005 Los Angeles, Semishigure, Kleve.
2003 Liam Gillick/RobMazurek, En/Off, Kleve.
2002 Ekkehard Ehlers & Joseph Suchy/Liam Gillick, En/Off, Kleve.
2002 Capital, Semishigure, Kleve. (CD)
2002 Wood (part of Void), CCA, Kitakyushu.
2001 Liam Gillick Meets Scott Olson in Japan, Whatness, Frankfurt.
1995 Stoppage, CCC Tours/Villa Arson, Nice

Lectures and Talks

  • 2018

    e-flux podcast: Lawrence Weiner, Julieta Aranda, and Liam Gillick in conversation
    The Architectural History of the Arlatan Hotel in Four Dimensions, conference as part of Luma Days #2, Arles, France
    Hospitality: Openness to the foreign, a unique event, each time renewed…, conference as part of Luma Days #2, Arles, France

  • 2017

    Annual Bransten Lecture, Liam Gillick: Industry and Intelligence: Contemporary Art Since 1820, Koret Auditorium, de Young Museum, San Francisco, USA

  • 2015

    Keynote speaker (with Walead Beshty), Contemporary Artists’ Book Conference, MoMA PS1, New York, USA
    Seven on Seven, The New Museum, New York, USA
    Gerrard O’Carroll Memorial Lecture, Zilkha Auditorium, Whitechapel Gallery, London
    The Legal Medium: New encounters of Law and Art, Yale Law School, Yale University, New Haven, Connecticut, USA
    30 Years Kunsthalle Zürich, Symposium, Kunsthalle Zürich, Switzerland

  • 2013

    The Bampton Lectures 2013, Creative Disruption In the Age of Soft Revolutions: A series of four lectures. Columbia University Miller Theater. School of the Arts, Institute for Religion, Culture and Public Life.

Writing

  • 2018

    Gillick, Liam, Joan Jonas meets Liam Gillick, Art Review, March 2018. pp, 65-73.
    Bickers, Patricia, ed.,Talking Art 2: Art Monthly Interviews with Artists Since 2007, London, Ridinghouse
    Gillick, Liam, Anton Vidokle “This is Cosmos” Introduced by Liam Gillick, vdrome.org, 13 February 2018.

  • 2017

    Gillick, Liam, Liam Gillick on Man, Machine and Motion by Richard Hamilton, Mousse issue 61, pp. 140–142.

  • 2016

    Industry and Intelligence, New York, Columbia University Press
    Artists’ Artists, Artforum, December 2016, vol. 55, no.4, p. 111.

  • 2015

    Weapons Grade Pig Work, supercommunity.e-flux.com, 19 June 2015

  • 2014

    Construction of one: An excerpt from a novel that is not to be published, Mousse, December 2014 – January 2015, p. 84.
    Abstract, Museo Tamaya, Mexico: Space for Visual Research, Spector Books
    Adolescence: Stolen at the Point of Obsolescence, Derek Jarman Super 8, Thames & Hudson

  • 2010

    Memoirs of the twentieth century/ Prevision: Should the future help the past, New York, Halmos
    Why Work?, Auckland, Artspace

  • 2009

    Allbooks, Book Works, London

  • 2008

    Maybe it would be better if we worked in groups of three, Hermes Lecture
    Ein Rückblick aus dem Jahre 2000 auf 1997 (with Matthew Brannon), Leipzig, Galerie für Zeitgenössische Kunst

  • 2007

    Proxemics: Selected Writing 1988-2006, JRP-Ringier

  • 2006

    Le Montrachet, Liam Gillick and Heather McGowan, Los Angeles, Rocky Point Press
    Malaga – An album of Covers, Liam Gillick and M/M, Paris, Brussels, Two Star Books

  • 2004

    Anna Sanders Films Identity Spot, Liam Gillick and Sean Dack, Onestar Press, Paris
    Underground (Fragments of Future Histories), Brussels/Dijon, Les maitre des forme contemporain, Les Presses du Réel

  • 2002

    Literally No Place, London, Book Works

  • 1999

    Five or Six, New York, Lukas & Sternberg

  • 1998

    Ein Rückblick aus dem Jahre 2000 auf 1997 (with Matthew Brannon), Leipzig, Galerie für Zeitgenössische Kunst

  • 1997

    iscussion Island/Big Conference Centre, Derry/Ludwigsburg, Orchard Gallery, Kunstverein

  • 1995

    Ibuka!, Stuttgart, Kunstlerhaus
    Erasmus is Late, London, Book Works

  • 1991

    Technique Anglaise (with Andrew Renton), London, One-Off Press/Thames & Hudson

Solo Publications

  • 2017

    LIAM GILLICK: CAMPAIGN, Fundação de Serraves: Porto

  • 2016

    Industry and Intelligence: Contemporary art since 1820, Columbia University Press

  • 2015

    From Nineteen Ninety A to Nineteen Ninety D, JRP|Ringier

  • 2012

    From 199A to 199B, CCS Bard College, Hessel Museum of Art

  • 2011

    POURQUOI TRAVAILLER?, Three Star Books, Paris
    Liam Gillick & Lawrence Weiner: A Syntax of Dependency, M HKA, Museum of Contemporary Art Antwerp, Mousse Publishing

  • 2010

    One long walk… Two short piers…Kunst-und Ausstellungshalle der Bundesrepublik Deutschland GmbH, Bonn, Germany, Snoeck Verlagsgesellschaft mbH, Koln

  • 2009

    Liam Gillick 2009: Deutscher Pavillion La Biennale Di Venezia, Lukas & Sternberg
    Meaning Liam Gillick, MIT Press
    An Idea Just Out Of Reach, Verlag fur moderne Kunst Nurnberg (Audio CD)
    All Books, Book Works, London

  • 2008

    Ein kurzes Szenario: A ‘Volvo’ Bar 8. August 1993, Kunstverein München

  • 2007

    Again the metaphor problem and other engaged critical discourses about art: A conversation between John Baldessari, Liam Gillick and Lawrence Weiner, moderated by Beatrix Ruf, Springer-Verlag/Wien

  • 2006

    Factories in the Snow, JRP|Ringier
    Proxemics; Selected Writings (1988-2006), JRP|Ringier

  • 2005

    Liam Gillick: Woven / Intersected / Revised, JRP Editions
    McNamara Hotel, CAC Malaga

  • 2004

    Underground (Fragments of Future Histories), Arte-Print, Brussels
    Curating with Light Luggage – Liam Gillick and Maria Lind, Revolver

  • 2002

    Literally No Place, Book Works, London
    Liam Gillick: The Wood Way, Whitechapel Gallery, London

  • 2000

    Five or Six, Sternberg Press, Berlin
    renovation filter: recent past and near future, Arnolfini, Bristol
    Erasmus is Late, Book Works, London
    Liam Gillick, Oktagon, Lukas & Sternberg

Selected Group Exhibitions

  • (C) denotes catalogue published in conjunction with the exhibition.

  • 2019

    Bauhaus Spiel - Playground for Innovation, Neues Museum, Nürnberg, Germany

  • 2018

    Apartment of Mr. Reverend, Regina Gallery, Moscow, Russia
    Best of 10 years, Kunsthalle Weishaupt, Ulm, Germany
    Architecture of Storage, Deutsches Architektur Zentrum (DAZ), Berlin, Germany
    drukwerk/printed matter, FRAC Normandie, Rouen, France
    Ghost Nets, organized by Julieta Aranda, OMR, Mexico City, Mexico
    1998, Air de Paris, Paris, France
    Social Facades, A Dialogue Between the MMK and DekaBank Collections, MMK, Frankfurt, Germany
    Festival M3, Art in Space, Prague, Czech Republic
    La Panacée MoCo, Montpellier, France
    Que fut 1848? Frac Grand Large - Hauts-de-France, Dunkirk, France
    Twilight, Borusan Contemporary, Istanbul, Turkey
    ART IS WORK, Krokus Gallery, Bratislava, Slovakia
    Trix & Robert Haussmann– The Log-O-Rithmic Slide Rule: A Retrospective, KW Institute for Contemporary Art, Berlin, Germany
    A Moveable Feast, Galerie des Galeries, Paris, France

  • 2017

    Flatland / Abstractuons Narratives #2, MUDAM- Musée d’Art Moderne Grand-Duc Jean, Luxembourg Luxembourg
    Noch schöner Wohnen, Jürgen Becker Galerie, Hamburg, Germany
    20 Jahre Schauraum, Schauraum K3, Simbach am Inn Germany, Germany
    99 Cents, Museum of Contemporary Art Detroit, Michigan, USA
    A Green and Pleasant Land, Towner Art Gallery, Eastbourne, UK
    A Moveable Feast, Galerie des Galeries, Paris, France
    And what, for example, am I now seeing? (Autodisporsi), Galleria Continua - Les Moulins, Boissy-le-Chātel, France
    Arquitecturas y Espacios en la Colección Rac, CentroCentro Cibeles, Madrid
    Best of 10 Years, Kunsthalle Weishaupt, Ulm, Germany
    COLORI, Castello di Rivoli Museo d'Arte Contemporanea, Turin, Italy
    Du verbe à la communication, Le Carre d’art Nimes, Nîmes, France.
    Elbphilharmonie Revisited, Deichtorhallen, Hamburg, Germany
    Everything you need to know about the FY Foundation: An Exhibition, You Space, Shenzen, China
    Fifteen People Present Their Favorite Book (After Kosuth), CAC Bukovje/Landskrona, Landskrona, Sweden
    Gesture, Form, Technique, Taro Nasu, Tokyo, Japan
    How to Live Together, Kunsthalle Wien, Vienna, Austria
    John Latham – A World View, Serpentine Gallery, London, England.
    Night at the Museum, The Attenborough Centre, Leicester, England
    Nothing, Curated by Ele Carpenter and Graham Gussin, Contemporary Art Centre Vilnius, Vilnius, Lithuania
    Parapolitics: Cultural Freedom and the Cold War, HKW Berlin, Germany
    Park, (organized by Kerlin Gallery), Holly’s Gallery, Guangzhou, China
    Poïpoï, une Privée à Monaco, NMNM-Villa Sauber, Monaco
    Production Show: Artists House, Eastside Projects, Birmingham, UK
    Publishing as an Artistic Toolbox: 1989–2017, Kunsthalle Wien Museumsquartier, Vienna Austria
    Readymade, House Eva Presenhuber, Zürich, Switzerland
    Shanghai Project Part 2, Shanghai, China
    Schreibtischuhr, Galerie Meyer Kainer, Vienna, Austria
    The Carpet Kartell, Tanja Grunert, New York
    The Interior and The Carpet, Pacific Design Center, Los Angeles, USA
    True Faith, curated by Matthew Higgs, Manchester City Art Gallery, Manchester, England
    Variable Dimensions: Artists and Architecture, MAAT, Lisbon, Portugal
    Wall to Wall: Carpets by Artists, Katonah Museum of Art, Katonah, New York, USA

  • 2016

    LSD, Rob Tufnell, Cologne
    SCRIPT, Borusan Contemporary, Istanbul, Turkey
    Where Text is Broken by a Building...Arario Museum, Seoul, Korea
    Dreamlands: Immersive Cinema and Art, 1905-2016, The Whitney Museum, New York, USA
    Parc de Sculptures Contemporaines, Domaine du Muy, Le Muy, France
    Wall to Wall: Carpets by Artists, Museum of Contemporary Art, Cleveland OH, USA
    Conversation autour d'une collection. Collection Jocelyne et Fabrice Petignat,Villa Bernasconi, Lancy Switzerland
    Invisible Adversaries, Hessel Museum of Art, Bard College, USA
    Reading Context, The Collection Teaching Gallery, CCS Bard, USA
    Night in the Museum: An Exhibition from the Arts Council Collection, curated by Ryan Gander, Long Side Gallery, Yorkshire Sculpture Park; Gas Hall, Birmingham; The Attenborough Centre, Leicester UK
    2116, Shanghai Project, Shanghai Himalayas Museum, China (Curated by Yongwoo Lee and Hans Ulrich Obrist)
    Yinchuan Biennale 2016, Museum of Contemporary Art Yinchuan, China
    The Natural Order of Things, Museo Jumex, Mexico City, Mexico
    Tobias Rehberger presently, Neugerriemschneider, Berlin Germany
    Fünfzig Zigarren Für Das Licht Der Zukunft, Kunstverein KISS Kunst im
    Schloss Untergröningen e.V., Abtsgmünd-Untergröningen Germany
    If All Relationships Were to Reach Equilibrium, Then This Building Would Dissolve, MIMA, Middlesbrough, UK
    Moving Image Department – 4th Chapter: The Rhetoric of Time, Revisited, National Gallery Prague - Veletržní Palace, Prague Czech Republic
    Moving Image Department – 5th Chapter: The Economies of Time, Perverted, National Gallery Prague - Veletržní Palace, Prague Czech Republic
    Beton, Kunsthalle, Wien, Austria

    Still (the) Barbarians, EVA International Ireland’s Biennial, Limerick, Ireland
    Fluidity, Kunstverein in Hamburg, Hamburg, Germany
    All Systems... Go, Cooper Gallery - Duncan of Jordanstone College of Art & Design, Dundee, UK
    A History: Contemporary Art From The Centre Pompidou, Haus Der Kunst, Munich, Germany
    The Peacock, Grazer Kunstverein, Graz Austria
    Sammeln ist wie Tagebuch führen Kleinskulpturen aus 50 Jahren, Galerie Rainer Wehr, Stuttgart, Germany

  • 2015

    Beginnings, Galerija Vartai, Vilnius, Lithuania
    Dimensions Variable, Artists and Architecture, Pavillon de l’Arsenal, Paris, France
    British Art Show 8, Leeds Art Gallery, Leeds, UK, touring to:
    Scottish National Gallery of Modern Art, Talbot Rice Gallery, University of Edinburgh, and Inverleith House, Royal Botanic Garden Edinburgh (2016); Norwich University of the Arts and Norwich Castle Museum and Art Gallery (2016); John Hansard Gallery and Southampton City Art Gallery (2017).
    Hotel Theory, REDCAT, CalArts, Los Angeles, USA
    Second Oeuvre, Preface, Toulouse, France
    L’exposition d’un film, Centre Pompidou, Paris, France
    6th Moscow Biennale, Moscow, Russia
    10th Kaunas Biennial NETWORKED, Threads: Fantasmagoria about Distance, curated by Nicolas Bourriaud, Kaunas, Lithuania
    14th Istanbul Biennial SALTWATER: A Theory of Thought Forms, drafted by Carolyn Christov-Bakargiev, Istanbul, Turkey
    Archi-Sculpture, Villa Datris, Fondation pour la Sculpture Contemporaine, L´Isle-sur-la-Sorgue, France
    Collecting Line II – Drawings from the Ringier Collection, Villa Flora, Winterthur, Switzerland
    Colección Jumex, In Girum Imus Nocte et Consumimur Igni, Museo Jumex, Mexico City, Mexico
    Sommer Kino, Johnen Galerie, Berlin, Germany
    Works From The Frac Nord Pas De Calais Collection, Herbert Foundation, Ghent, Belgium
    Leben Mit Kunst – Teil 2, 50 Jahre Sammlung, Siegfried Und Jutta Weishaupt, Kunsthalle Weishaupt, Ulm, Germany
    International Currency, Lodos, Mexico City, Mexico
    Summer Exhibition, Royal Academy of Arts, London, UK
    All-Imitate-Act, Holland Festival International performing arts, Museumplein, Amsterdam, The Netherlands, traveling to LUMA Foundation, Arles, France
    Pop Art Design, Emma, Finland touring to Henie-Onstad Kunstsenter, Hovikodden, Norway.
    do it, Anne & Gordon Samstag Museum of Art, University of South Australia, Adelaide
    Works on Paper, Galerie Eva Presenhuber, Zurich, Switzerland
    Not Resistance, Holden Gallery, Manchester, UK
    Adventures of the Black Square: Abstract art and society 1915-2015, Whitechapel Gallery, London, UK

  • 2014

    Confessions of the Imperfect, 1848 – 1989 – Today, Van Abbemuseum, Eindhoven, The Netherlands
    Blue Times, Kunsthalle Wien, Museumsquartier, Vienna, Austria
    Szalon, Logan Center Gallery, Reva and David Logan Center for the Arts, University of Chicago, Chicago, USA
    20+, SMAHK, Assen
    55th October Salon, Belgrade
    Helicotrema, Viafarini, Milan
    Stillpass Collection with Exterior Concourse Diagram, collectorspace, Istanbul
    Petals on the Wind, Galerie Micheline Szwajcer, Brussels
    Beyond and Between, Leeum Samsung Museum of Art, Seoul.
    Institute for Human Activities, Democratic Republic of Congo
    Deep One Perfect Morning, Kerlin Gallery, Dublin
    A Machinery for Living, Organized by Walead Beshty, Petzel, New York
    Une Histoire, Art, Architecture, Design des années 1980 à nos jours, Centre Pompidou, Paris
    Swiss Pavilion, 14th Architecture Biennale, Venice
    Never Look Back when Leaving, Casey Kaplan, New York
    Der Leone have sept cabeças, CRAC Alsace, Altkirch
    9 Artists, MIT List Visual Art Center, Cambridge
    The Decade 1984-1999, Centre Pompidou, Metz
    Who Shall Deliver Us from Greeks and Romans, Galeri Manâ, Istanbul
    Triple Oh!, Pestorius Sweeney House, Brisbane
    Breaking News from the Ether, La Panacée, Centre de Culture Contemporaine, Montpellier
    El Hotel Eléctrico, M_kha, Antwerp
    Monochrome & Readymades, L’Onde Théâtre Centre d’art, Velizy-Villacoublay

  • 2013

    Secret Codes (Códigos Secretos), Galerie Luisa Strina, Sao Paulo
    Absolut, White Flag Projects, St. Louis, Mo
    Fading Nights, Gerhardsen Gerner, Berlin
    Punctum: Fotographie zwischen Inszenierung und Dokumentation, Boltensternraum Baden (Meyer Kainer)
    Capitalism Catch 22, Impakt Festival Utrecht
    CAC Malaga: Una Década, CAC Malaga
    9 Artists, Walker Art Center, Minneapolis
    Nuit Blanche, Paris
    To the Reader, BAK, Utrecht
    One foot in the real world, Irish Museum of Modern Art, Dublin
    British British Polish Polish, CCA Warsaw
    Word+Work, Galerie Nachst St. Stephan, Vienna
    Reading List: Artist’s Selections from the MoMA Library Collection, New York
    Abstract Nature, Parkett Austellungs-Raum, Zurich
    Unknown Forces, Curated by Sunjung Kim, Tophane-i Amire Gallery, Mimar Sinan University, Istanbul
    Leichte Verstörung in den Fabriken, tête, Berlin
    Secondary Stuctures, Francois Morellet, Olivier Mosset, Liam Gillick, Katja Strunz, Ruzicska, Salzburg
    Contemporary Artists of the Donegal Diaspora, Regional Cultural Centre, Letterkenny
    Draft Urbanism, The Biennale of the Americas, Denver
    Sommeraustellung, Esther Schipper, Berlin
    7 Studies, Schellmann Furniture, Munich
    Chinese Whispers: A Group Show on the loss of Control, Cura.basement, Rome
    Salle d’attente III, Galerie Laurent Mueller, Paris
    DLA Piper Series: Constellations, Tate Liverpool
    Striped: Gillick, Lefcourt, LeWitt, Pierson, Mitterand + Cramer, Geneve
    Kunst Nach 45, Lenbachhaus, Munich
    Poesia: Werke aus der Sammlung Reinking, Städtische Galerie Delmenhorst
    Fired Earth, Herbert Gerisch Stiftung, Neumünster
    The Lie and the Powerpoint, with Benoit Maire and Falke Pisano, Shanaynay, Paris
    Endless Bummer/Still Bummin, Marlborough Chelsea, New York
    Neoplastic Room. Open Composition, Museum Sztuki, Lodz
    Edge Order Rupture, Gallery Lelong, New York
    The Twentieth Century as Never Seen Before, Museo di Santa Giulia, Brescia
    Love in a Cold Climate, S1 Artspace, Sheffield
    Cross/Roads, Willie Birch and Liam Gillick, Bard CCS
    Abstract Generation: Now in Print, MoMA, New York
    Another Time, Pestorius Sweeney House, Brisbane
    Looking Back – The 7th White Columns Annual, selected by Richard Birkett, White Columns, New York

  • 2012

    Screens, Galerie Meyer Kainer, Vienna.
    True Stories: Scripted Realities, Dunedin Public Art Gallery, New Zealand
    Extended Minimalism, Javier Lopez, Madrid
    Test Run, Kunsthaus Dresden
    The Mystery Spot, Fondation d’enterprise Ricard, Paris
    The Feverish Library, Friedrich Petzel, New York
    Parque Industrial, Galeria Luisa Strina, Sao Paulo
    Where is the Power, Fort Worth Contemporary Arts
    True Stories: Scripted Realities, Te Tuhi Centre for the Arts, New Zealand
    Decade: Contemporary Collecting 2002-2012, Albright Knox, Buffalo
    Various stages, Kunsthaus Dresden
    Sense and Sensibility, Euskadi 2012
    Skulpturen und Reliefs aus der Sammlung, Kunsthalle Weishaupt, Ulm
    Take off your silver spurs and help me pass the time, Galerie Nikolaus Ruzicska, Salzburg
    Group Exhibition, Kerlin Gallery, July
    Air de Paris Summer Show, Art & Rapy, Monaco
    Last Day, Cartel, London
    Looking Back for the Future, Kunsthalle, Zurich
    Painting in Space, Luhring Augustine, New York
    Soundworks, ICA, London
    Wir treffen uns am Abend, Galerie Kamm, Berlin
    Read, Look! We promise it’s not dangerous, Emily Harvey Foundation, New York
    How to Make – Ideen, Notationen, Materialisierungen, Kunsthaus Dresden
    True Stories: Scripted Realities, Govett-Brewster Art Gallery, New Plymouth, New Zealand
    Positions on Conceptual Art, Galerie Rüdiger Schottle, Köln
    Print/Out, MoMA, New York
    The Poster Show, Galerie Carlier-Gebauer, Berlin
    Schrift Bild, Galerie Meyer Kainer, Vienna
    Utopia Gesamtkunstwerk, 21er Haus, Vienna
    Abstract Possible: The Stockholm Synergies, Tensta Konsthall, Stockholm

  • 2011

    Of Bridges and Borders: Chapter V, From Real to Surreal, Museo de Arte Moderno de Buenos Aires
    Performa 11, New York
    The Air we Breathe, SFMOMA, San Francisco
    Obras de la collecion Jumex, Hospicio Cabanas, Guadalajara
    Our Day Will Come & Iteration Again, University of Tasmania School of Art in Hobart
    Monodrome, 3rd Athens Biennale, Athens
    In Deed: Certificates of authenticity in Art, Fondazione Bevilacqua, La Masa
    In Deed: Certificates of authenticity in Art, De Vleeshal, Middelburg
    Göteborg International Biennale for Contemporary Art, Göteborg
    Als die Wälder auf Reisen gingen, Kunstverein Pforzheim
    Conversation Pieces, Tate, Liverpool
    Footnote 6: As Model, Miguel Abreu, New York
    Humid but cool I think, Taro Nasu, Tokyo
    Everything must Go!, Casey Kaplan, New York
    Out of storage, Marres, Maastricht
    Sculpture Now, Galerie Eva Presenhuber, Zurich
    Contemporary Magic: A Tarot Deck art project, Andy Warhol Museum, Pittsburgh
    Space Oddity, Kunsthalle Andratx
    I am still alive, MoMA, New York
    Abstract Possible, Museo Tamayo, Mexico, D.F
    Police!, Galerie Nathalie Seroussi, Paris
    A lunatic on bulbs, Giorgio Pace Projects, Chesa Planta
    We Are Grammar, Pratt Institute Gallery, New York
    Scaffolding of contrition, LeRoy Neiman Gallery, New York
    Modern British Sculpture, Royal Academy, London
    Someone else’s life, Kerlin Gallery, Dublin
    No more presence, The Artist’s Institute, New York

  • 2010

    01-10, Esther Schipper, Berlin
    Without you I am nothing: Art and its Audience, Museum of Contemporary Art, Chicago
    Which whitch is which and/or summertime, White Flag Projects, St. Louis
    Nature, Gerhardsen Gerner, Berlin
    Contemporary Magic: A Tarot Deck art project, National Arts Club, New York
    8th Shanghai Biennale, Shanghai
    Geometry in 20th Century Art, Museo d’arte Latinamericano de Buenos Aires
    Today I made nothing, Elizabeth Dee Gallery, New York
    Aires de Jeux, Le Quartier, Quimper
    Unrealised Potential, Cornerhouse, Manchester
    Changing Britain: Documentary Photography from the Arts Council Collection, Portcullis House, London
    Multiple Pleasures, Tanya Bonakdar Gallery, New York
    The Philosophy of Money, White Pavilion, Lisbon City Museum
    89 KM. CGAC Collection, MARCO, Vigo
    Humanity is not a completed project, Villa du Parc, Centre d’art Contemporain, Annemasse
    Men with Balls: Art of the 2010 World Cup, Apex Art, New York
    Post-Office, Artspace, Auckland
    High ideals and crazy dreams, Vera Munro, Hamburg
    Kozmik Latte, Borusan Collection, Istanbul
    Film Matters, Beton 7, Athens
    Don’t Piss on me and tell me that it’s raining, Apex Art, New York
    The Promises of the Past, Centre Pompidou, Paris
    Ce qui vient, Les Ateliers de Rennes, Biennale d’art contemporain, Rennes
    Art: Curated by Michael Craig-Martin, Haas and Fuchs, Berlin
    Fantasy & Island, FRAC Corse
    Pictures about Pictures: Discources in Painting, MUMOK, Wien
    Corporate Everything, Kunsthalle Freiburg
    Shazam, c/o Gerhardsen Gerner, Berlin
    It is it, Espacio 1414 Puerto Rico
    Interference: Fields for listening and Praxis, The studio at Moderna Museet, Stockholm
    Animism, MuKHA/Extra City, Antwerp

  • 2009

    Saints and Sinners, Rose Art Museum, Brandeis University.
    Custom Car Commandos, Art in General, New York.
    Just what are the saying, Jonathan Ferrara Gallery, New Orleans.
    Forms of Inquiry, Archizoom, Lausanne.
    The Human Stain, CGAC Santiago de Compostela.
    Espèces d’Espaces, Yvon Lambert, New York.
    International Photo Festival Knokke-Heist, Knokke Heist.
    Beaufort 03, Oostende, Belgium.
    Unbuilt Roads, E-flux, New York.
    A Factory, A Machine, A Body… Archaeology and Memory of Industrial Spaces, Centre d’art La Panera, Lleida.
    La Recherche, Air de Paris, Paris.
    Because I say so: Sculpture from the Scholl collection, Frost Art Museum, Miami.
    Lapdogs of the Bourgeoisie, Arnolfini, Bristol
    Between Metaphor and Object, IMMA, Dublin.
    Take the Money and Run, De Appel, Amsterdam
    UFO: Grenzgänge zwischen Kunst und Design, NRW-Forum, Dusseldorf.
    The Obstacle is Tautology, Tulips and Roses, Vilnius.
    Il Tempo del Postino, Theater Basel, Basel
    LEARN TO READ ART: A History of Printed Matter (1976-2009), Badischer Kunstverein, Karlsruhe
    Watou 2009, Watou.
    Top 10 Allegories, Galerie Francesca Pia, Geneve.
    T-tris, B.P.S. 22, Charleroi.
    La Suite, Air de Paris, Paris.
    A Factory, A Machine, A Body…, MUCA, Mexico City.
    We are sun-kissed and Snow Blind, Patrick Seguin, Paris.
    Gagarin: Artists in their own words, SMAK, Gent.
    Queensland Art 2009, Pestorious Sweeney House, Brisbane.

  • 2008

    Images: A spike magazine project, Forde, Geneva.
    Mixed Emotions, Domus Atrium, Salamanca.
    Lapdogs of the Bougoisie, Tensta Konsthall, Spanga
    MAXImin, A century of abstraction, Fondacion Juan March, Madrid.
    KW Hommage à Klaus Werner, Galerie für Zeitgenössiche Kunst, Leipzig.
    The Brisbane Sound, Institute of Modern Art, Brisbane.
    Cube Passerby, Passerby, New York.
    Typed, Sadie Coles, London.
    Fantasy, MuKHA, Antwerp.
    Book/Shelf, MoMA, New York
    This is the gallery and the gallery is many things, Eastside Projects, Birmingham.
    The Store, Tulips and Roses, Vilnus.
    Blasted Allegories: Sammlung Ringier, Kunstmuseum, Luzern.
    The Sydney Biennale, Sydney.
    Call it what you like, Art Center Silkeborg Bad.
    No so subtle subtitle, Casey Kaplan, New York.
    Vincent Award, Stedelijk Museum, Amsterdam.
    Private/Corporate V: Daimler Art Collection, Haus Huth, Berlin.
    Mondo e Terra, FRAC Corse.
    Shapes of Space 2, Mário Sequeira Gallery, Braga.
    This is the gallery and the gallery is Many things, Eastside Projects, Birmingham.
    La Petite Histoire, Kunstraum Niederoesterreich, Vienna.
    La Vitrina, Gudalajara.
    100 Artists: Art on the Underground, A Foundation Gallery, London.
    Moments and Murals, MD72, Berlin.
    Branding Democracy, New School, New York.
    Edition Schellmann Furniture, Edition Schellmann, Munich.
    Accessories to an artwork, Paul Stolper Gallery, London.
    Theanyspacewhatever, Guggenheim Museum, New York.
    Getting Even, Lewis Glucksman Gallery, Cork
    Made in Munich, Haus der Kunst, Munich.
    Fifty Percent Solitude, Kerlin Gallery, Dublin.

  • 2007

    Lapdogs of the Bourgoisie, Platform Garanti, Istanbul.
    Active Constellation, Brno House of Art.
    Collateral: When Art Looks at Cinema, Hangar Bicocca, Milan.
    Los Vinilos, El Basilico, Buenos Aires.
    Models for Tommorow: Cologne, EU Kunsthalle, Köln.
    Pure, Sean Kelly, New York.
    Airs de Paris, Centre Pompidou, Paris.
    The Redistribution of the Sensible, Galerie Magnus Muller, Berlin.
    The Shapes of Space, Guggenheim Museum, New York.
    Memorial to the Iraq War, ICA, London
    If Everybody Had an Ocean, Tate, St. Ives.
    Trajectory 4: AKA Institute of Contemporary Art, Old Harbour, Riga.
    How to improve the world, Birmingham Museum and Art Gallery.
    Perspektive 07, Lenbachhaus, Munich.
    Intocable (El ideal de la transparencia), The Museum of Contemporary Art, Valladolid.
    It starts from here, De La Warr Pavillion.
    Edition Schellmann Door Cycle, Friedrich Petzel Gallery, New York.
    All You Desire, PPOW, New York.
    Other Men’s Flowers, Venetia Kapernekas Gallery, New York.
    Franchise, Assen.
    I can’t live without, The Showroom, London.
    L’ottava Tavola: An Etymology of Contemporary Codes, Cortona.
    The Showroom Talks, The Showroom, London.
    Fourier, Centre d’art mobile, Besançon.
    If Everybody Had an Ocean, CAPC, Bordeaux.
    Floating Territories, Various Locations (Venice, Istanbul…)
    Projektion, Lentos Kunstmuseum Linz.
    Franz West: Soufflé, Kunstraum Innsbruck.
    Tomorrow is Another Day, Artsonje, Seoul.
    Eva Presenhuber/Jubilee Exhibition, Vnà.
    Fusion Now! More light, more power, more people, Rokerby Gallery.
    Winter Palace, de Aterliers, Amsterdam.
    Xmas Hysteria, Galerie Emi Fontana, Milan.

  • 2006

    A person alone in a room with coca-cola coloured walls, Grazer Kunstverein.
    Cinéma(s), Le Magasin, Grenoble.
    Fondos da Colección CGAC: Entre o proceso e a forma, CGAC, Santiago de Compostela.
    Slow Burn, Galerie Edward Mitterand, Geneva.
    Broken Surface, Galerie Sabine Knust, Munich.
    100 Artists See God (curated by John Baldessari & Meg Cranston), Cheekwood Museum of Art, Nashville.
    Minimal Illusions, Galerien der Stadt Esslingen.
    Under Construction, European Kunshalle, Cologne.
    Ordnung und Verführung, Haus Konstructiv, Zurich.
    Bühne des Lebens – Rhetorik des Gefühls, Kunstbau München.
    A short history of performance Part 4, Whitechapel Art Gallery, London.
    Classical Modern, Daimler Chrysler Contemporary, Berlin.
    Back and Forth, Stiftung Wilhelm Lehmbruck Museum, Duisburg.
    Supernova, Galerie Jana Koniarka, Trnava.
    Grey Flags, Sculpture Center, New York.
    Thankyou for the Music (London Beat), Sprüth Magers Lee, London
    Untouchable (The ideal of Transparency), Villa Arson, Nice.
    Undisciplined: Attese Biennale of Ceramic Arts, Attese.
    Crytallizations, Andreas Murkurdis Temporary, Munich.
    Sprung ins Kalte Wasser, Shedhalle, Zurich.
    Turtle, Chelsea Space, London.
    Dirty Words, Galeria Pedro Cera, Lisbon.
    Abstraction Now, Wilhelm-Hack-Museum, Ludwigshafen.
    Modus, Neue Kunsthalle, St. Gallen.
    Faster! Bigger! Better!, ZKM, Karlsruhe.
    Academy, Van Abbemuseum, Eindhoven.
    Projektion, Kunstmuseum, Luzern.
    How to improve the World, Hayward Gallery, London.
    Eye on Europe: Prints, Books and Multiples 1960 to now, MoMA, New York.
    Klinik: Eine pathologie der Gesten, Hebbel am Ulfer, Berlin.
    Saigon: Open City, Saigon.
    All Hawaii Entrées/Lunar Reggae, IMMA, Dublin.
    Drapeaux Gris, CAPC, Bordeaux.

  • 2005

    Exit – Aussteig aus dem bild, ZKM, Karlsruhe.
    The Furniture of Poul Kjaerholm and selected artwork, Sean Kelly and R 20th Century, New York.
    New Cohabitats, Galerie Ghislane Hussenot, Paris
    Goodbye 14th Street, Casey Kaplan, New York.
    Good Titles for Bad Books, Kevin Bruk, Miami.
    The Strange, Familiar and Unforgotten, Galerie Erna Hecey, Brussels.
    Group Exhibition, Air de Paris, Paris.
    Anna Sanders Films, Cinema Svetozor, Prague.
    Supernova, Bunkier Sztuki, Kraków.
    Icestorm, Kunstverein München.
    La La Land, The Project, Dublin.
    Post Notes, Midway Contemporary Art, Minneapolis.
    Bidibidobidiboo, Works from Collezione Sandretto Re Rebaudengo, Turin.
    100 Artists See God, (curated by John Baldessari & Meg Cranston),
    Contemporary Art Center of Virginia, Virginia Beach.
    I Really Should∗, Lisson Gallery, London.
    Go Between, Kunstverein Bregenz.
    Nach Rokytnik, MUMOK, Vienna.
    Extreme Abstraction, Albright Knox Art Gallery, Buffalo.
    100 Artists See God, (curated by John Baldessari & Meg Cranston), Albright College Freedman Art Gallery, Reading, PA.
    General Ideas: Rethinking conceptual art 1987-2005, CCA Wattis, San Francisco.
    Etc., Le Consortium, Dijon.
    Passion beyond reason, Wallstreet 1, Berlin.
    En Route: Via another route, Trans-Siberian Railway.
    Snow Black, Yvon Lambert, New York.
    Reception, Büro Friedrich, Berlin.
    Rundledererwelten, Martin Gropius Bau, Berlin.
    Ambiance, K21, Dusseldorf.
    Strictement Confidentiel, CIAP, Ile de Vassiviere.
    Thankyou for the Music, Sprüth Magers, Munich.
    Im Bild Sein, Galerie der HGB-Leipzig.
    The Party, Casey Kaplan, New York.
    Supernova, Contemporary Art Centre, Vilnius.
    Minimalism and after, Daimler Chrysler Collection, Berlin.

  • 2004

    Singular Forms (Sometimes Repeated), Art from 1951 to the Present, Guggenheim Museum, New York.
    Establishing Shot, Artist’s Space, New York.
    100 Artists See God, (curated by John Baldessari & Meg Cranston), The Contemporary Jewish Museum, San Francisco.
    The Drawing Project, Vamiali’s, Athens.
    Before the End, (curated by Stéfanie Moisdon and Olivier Mosset), Le Consortium, Dijon.
    How to learn to love the bomb and stop worrying about it, Central de Arte en WTC, Guadalajara.
    Tonight, (curated by Paul O’Neill), Studio Voltaire, London.
    Russian Doll, MOT, London.
    Across the Border, MDD – Museum Dhondt-Dhaenens, Deurle.
    9 Mütter XX04, Mütter Museum, Philadelphia.
    Drunken Masters, Fortes Vilaca, Sao Paulo.
    Sadie Hawkins Dance, Southfirst, Brooklyn.
    Artists’ Favourites, ICA, London.
    Emotion Eins, Ursula Blickle Stiftung/Frankfurter Kunstverein.
    Em Jogo, CAV, Coimbra.
    Czech Made, Display, Prague.
    Off the Record/Sound Art, ARC Musée d’art moderne de la ville de Paris.
    Open, Arcadia University Art Gallery, Glenside, PA
    Marks in Space, Usher Gallery, Lincoln.
    Black Friday: Exercises in Hermetics, Galerie Kamm, Berlin.
    Strike, Basekamp, Philadelphia.
    The Trailer Special Project, Curzon Cinemas, London.
    100 Artists See God, (curated by John Baldessari & Meg Cranston), Laguna Art Museum, Laguna Beach.
    Trailer, Man in the Holocene, London.
    Nothing Compared to This: Ambient, Incidental and New Minimal Tendencies in Current Art, CAC, Cincinnati.
    Utopia Station, Haus der Kunst, Munich.
    100 Artists See God, (curated by John Baldessari & Meg Cranston), ICA, London.
    Dicen que finko o miento. La ficción revisada, Central de arte, Guadalajara.
    Poul Kjaerholm, Sean Kelly, New York.

  • 2003

    Perfect Timeless Repetition, C/O Atle Gerhardsen, Berlin.
    No Ghost Just a Shell, Van Abbemuseum, Eindhoven.
    Ill Communication, DCA, Dundee.
    Re-Produktion 2, Georg Kargl, Vienna.
    JRP Editions, Galerie Edward Mitterand, Geneva.
    Animations, Kunstwerk, Berlin.
    Breathing the Water, Galerie Hauser & Wirth & Presenhuber, Zurich.
    This Was Tomorrow, New Art Centre Sculpture Park, Salisbury.
    The Air is Blue, Barragan House, Mexico City.
    JRP Editions, Galería Javier López, Madrid.
    The Moderns/I moderni, Castello di Rivoli, Torino.
    Glamour, British Council, Prague.
    Imperfect Marriages, Galerie Emi Fontana, Milan.
    20th Anniversary Show, Sprüth Magers, Köln.
    Typofgravy, Cell, London.
    Cool Luster, Collection Lambert, Avignon.
    Form Specific, Moderna Galerija, Ljubljana.
    Tirana Biennale 2, Tirana.
    3D, Friedrich Petzel, New York.
    Social Facades and Others, Lenbachhaus, Munich.
    25th International Biennial of Graphic Arts, Ljubljana.
    Utopia Station, Venice Biennale, Venice.
    Honey I rearranged the collection, Greengrassi/Corvi-Mora, London.
    Abstraction Now, Künstlerhaus Wien, Vienna.
    How to learn to love the bomb and stop worrying about it, National Chamber of Art Industries, Mexico City.
    Wittgenstein: Family Likenesses, Institute of Visual Culture, Cambridge.
    Adorno 100, Frankfurter Kunstverein.
    A Nova Geometria, Galeria Fortes Vilaça, Sao Paulo.
    Everything Can Be Different, Maryland Institute College of Art, Baltimore.
    Bad Behaviour: Works from the Arts Council Collection, Yorkshire Sculpture Park.

  • 2002

    Urgent Painting, ARC, Musée d’art moderne de la ville de Paris, Paris.
    Reflexions, Sprüth Magers, Munich.
    Passenger: The Viewer as Participant, Astrup Fearnley Museum, Oslo.
    Nothing, Mead Gallery, Warwick.
    Minimal Maximal, National Museum of Contemporary Art, Seoul.
    Do It, Museo de Arte Carrillo Gil, San Angel.
    J’en ai pris des coups mais j’en ai donnés aussi, Galerie hez Valentin, Paris.
    Art & Economy, Deichtorhallen, Hamburg.
    Everything Can Be Different, University of Memphis, Tennesee.
    Void, Rice Gallery, Tokyo/CCA Kitakyushu.
    Annlee You Proposes, Mamco, Geneve.
    Startkapital, K21, Dusseldorf.
    Parallel Structures, Gertrude Contemporary Art Spaces, Fitzroy, Victoria.
    Private Views, Printed Space, London.
    The Ink Jetty, Neon Gallery, London.
    Inframince, Cabinet Gallery, London.
    Happy Outsiders from Scotland and London, Zachetal, Warsaw/Katowice City Gallery.
    The Object Sculpture, The Henry Moore Institute, Leeds.
    Without Consent, CAN, Neuchatel.
    The Movement Began with a Scandal, Lenbachhaus, Munich.
    JRP Editions, RAK, Vienna.
    Collected Contemporaries, Moderna Museet, Stockholm.
    Summer Cinema, Casey Kaplan, New York.
    Multiples X, London Print Studio.
    No Ghost Just a Shell, Kunsthalle, Zurich.
    Société Perpendiculaire: La Tapisserie, FRAC Provence-Alpes-Côte d’Azur.
    Collections, ZKM, Karlsruhe.
    Strike, Wolverhampton Art Gallery.
    The Unique Phenomena of a Distance, Magnani, London.
    The Galleries Show: Contemporary Art in London, Royal Academy of Arts, London.
    Turner Prize, Tate, London.
    Relational Aesthetics from the 1990s, San Francisco Art Institute, San Francisco.
    This Play 31, La Coleccion Jumex, Mexico.
    L’image habitable – versions B,C,D,E, Mamco, Geneva.
    Lap Dissolve, Casey Kaplan, New York.
    It’s Unfair, Museum de Paviljoens, Almere.
    Gleitsicht, Krypta 182, Berg. Gladbach.
    No Ghost Just A Shell, Institute of Visual Culture, Cambridge.
    No Ghost Just a Shell, San Francisco Museum of Modern Art.

  • 2001

    Century City, Tate Modern, London.
    Demonstration Room: Ideal House, Apex Art, New York.
    Histoire de coeur, collection Michel Poitevin, Fondation Guerlain, Les Mesnuls.
    There’s gonna be some trouble, a whole house will need rebuilding, Rooseum, Malmö.
    Stop and Go, FRAC, Nord-Pas de Calais, Dunkerque.
    Future Perfect, Orchard Gallery, Derry.
    Minimal-Maximal, City Museum of Art, Chiba; National Museum of Art, Kyoto;
    City Museum of Art, Fukuoka.
    Nothing, Northern Gallery for Contemporary Art, Sunderland/Contemporary Art Centre, Vilnius/Rooseum, Malmo.
    Contemporary Utopia, Museum of Modern Art, Riga.
    Berlin Biennale, Kunst Werk, Berlin.
    Collaborations with Parkett: 1984 to now, Museum of Modern Art, New York.
    International Language, Grassy Knoll Productions, various sites, Belfast.
    A New Domestic Landscape, Javier Lopez, Madrid.
    The Wedding Show, Casey Kaplan, New York.
    Geometry and Gesture, Thaddeaus Ropac, Salzburg.
    Biennale de Lyon, Musée d’art contemporain, Lyon.
    A Timely Place, Or, Getting Back to Somewhere, London Print Studio.
    Strategies against Architecture, Fondazione Teseco, Pisa.
    Stéphane Dafflon/Liam Gillick/Xavier Veilhan, Le Spot, Le Havre.
    The Communications Department, Anthony Wilkinson Gallery.
    Ambiance Magasin, Meymac Centre d’art Contemporain.
    Beautiful Productions: Parkett, Whitechapel Gallery, London.
    Demonstration Room: Ideal House, NICC, Antwerp.
    Yokohama 2001, Yokohama Triennale, Yokohama.
    Everything Can Be Different, Jean Paul Slusser Gallery, University of Michigan School of Art, Ann Arbor.
    Rumor City, Raffinerie, Brussels.
    Animations, PS1, Long Island City.
    Parallel Structures, South Bank Corporation, Brisbane.
    9e Biennale de l’image en Mouvement, Centre pour l’image contemporaine, Saint-Gervais, Genève.
    Rumour City, TN Probe, Japan.
    En/Of, Schneiderei, Köln.
    Ingenting, Rooseum, Malmö.
    I love Dijon, Le Consortium, Dijon.
    ....if a double-decker bus crashes into us to die by your side such a heavenly way to die and if a ten ton truck kills the both of us to die by your side the pleasure and the privilege is mine…, Air de Paris, Paris.

  • 2000

    29th International Film Festival, Rotterdam.
    Continuum 001, (curated by Rebecca Gordon Nesbitt) CCA, Glasgow.
    Stortorget i Kalmar, Statens Konstråds Galleri, Kalmar.
    Media City 2000, Seoul.
    Group Show, Casey Kaplan, New York.
    Wider Bild Gegen Wart. Positions to a political discourse, RAK Vienna
    14 + 1, Feitchtner & Mizrahi, Vienna.
    Decompressing History, (curated by Lars Bang Larson), Galeri Enkehuset, Stockholm.
    Viva Maria III, Galerie Admiralitätstraße, Hamburg.
    British Art Show 5, Touring Exhibition, Edinburgh, Southampton, Cardiff, Birmingham.
    Dire Aids, Art in the Age of Aids, Promotrice delle Belle Arti, Torino.
    Working Title, Stanley PIcker Gallery, Kingston University.
    Prefiguration of the Museum of Contemporary Art, Tucson (AZ). Collection JRP,
    Kunsthalle Fribourg
    What If/Tänk Om, Moderna Museet, Stockholm.
    Interplay; selected works from the Museum and private collections, The National Museum of Contemporary Art, Oslo
    Group Show, Paula Cooper Gallery, New York.
    Intelligence, Tate Britain, London.
    Future Perfect, Centre for Visual Arts, Cardiff.
    Haut de Forme et Bas Fonds, FRAC Poitou-Charentes, Angoulême.
    Vicinato 2, Fig. 1, London.
    Vicinato 2, Neuggerreimschneider, Berlin.
    Werkleitz, Tornitz.
    Wilder Bild Gegenwart; Positions to a Political Discourse, Nieuw Internationaal
    Kultureel Centrum, Antwerp.
    Perfidy, La Tourette, Eveaux.
    Protest and Survive, Whitechapel Gallery, London.
    e-mona, The Museum of New Art, Detroit.
    Aussendienst, Kunstverein in Hamburg.
    Indiscipline, Roomade, Brussels.
    Que saurions-nous construire d’autre? (What else could we build?), La Villa Noailles.
    Casa Ideal, Museo Alejandro Otero, Caracas.
    More Shows About Buildings and Food, Lisbon.
    Perfidy, Kettles Yard, Cambridge.
    How do you change an apartment that has been painted brown? Certainly not by painting it white, Institute of Visual Culture, Cambridge.
    Ausstellung der Jahresgaben, Westfälischer Kunstverein, Münster.
    Group Show, Corvi-Mora, London.
    Future Perfect, Cornerhouse, Manchester.

  • 1999

    Konstructionszeichnungen, Kunst-Werke, Berlin.
    [email protected], Ecole supérieure d’art de Grenoble, Grenoble.
    Xn, Maison de la culture, Chalon
    Continued Investigation of the Relevance of Abstraction, Andrea Rosen Gallery, New York
    Nur Wasser, Neumühlen, Hamburg.
    12 Artists, 12 Rooms, Galerie Thaddeaus Ropac, Salzburg.
    Air de Paris: works by AND/OR informations about, Grazer Kunstverein.•
    Tang, Turner and Runyon, Dallas.
    Plug-ins, Salon 3, London.
    Etcetera, Spacex Gallery, Exeter.
    Out of Sight – A cross-reference exhibition, Büro Friedrich, Berlin.
    Essential Things, (curated by Guy Mannes Abbott), Robert Prime, London.
    Laboratorium, Antwerpen Open, Antwerp.
    In The Midst of Things, University of Central England, Bourneville.
    Le Capitale, (curated by Nicolas Bourriaud), Centre régionale d’art contemporain, Sete.
    The Space is Everywhere, Villa Merkel, Esslingen.
    Objecthood OO, Athens.
    Tent, Rotterdam.
    dConstructivism: Life into Art, Brisbane Convention and Exhibition Center, Brisbane.
    Shopping, FAT, London.
    Fantasy Heckler, (curated by Padraig Timoney), Tracey, Liverpool Bienial.
    Art Lovers, (curated by Marcia Fortes), Tracey, Liverpool Bienial.
    Transmute, (curated by Joshua Decter), MCA Chicago.
    New York/London, Taché-Levy, Brussels.
    Get Together/Art As Teamwork, Kunsthalle, Vienna.
    1999 East Wing Collection, Courtald Institute of Art, London.
    Jonathan Monk, Casey Kaplan, New York.
    705 Wings of Freedom, (curated by Uwe Wiesner), Berlin.
    Officina Europa, Bologna.
    Une histoire parmi d’autres, collection Michel Poltevin, FRAC Nord-Pas de Calais.
    Space, Schipper und Krome, Berlin.

  • 1998

    Liam Gillick, John Miller, Joe Scanlan, RAK, Vienna
    Fast Forward, Kunstverein in Hamburg.
    Artist/Author: Contemporary Artists’ Books, American Federation of Arts touring show
    Weatherspoon Art Gallery, Greensboro/The Emerson Gallery, Clinton/ The Museum of
    Contemporary Art, Chicago/Lowe Art Museum, Coral Gables/Western Gallery, Bellingham/University
    Art Gallery, Amherst.
    Interactive, An Exhibition of Contemporary British Sculpture, Amerada Hess, London.
    A to Z, (curated by Matthew Higgs), The Approach, London.
    Construction Drawings, (curated by Klaus Biesenback), PS1, New York.
    Arena – Sport und Kunst Austellung, Galerie im Rathaus, Munich.
    Inglenook, (curated by Evette Brachman), Feigen Contemporary, New York.
    In-significants, Stockholm, Sweden.
    Kamikaze, Galerie im Marstall, Berlin.
    London Calling, The British School at Rome & Galleria Nazionale d”Arte Moderna, Rome.
    Fuori Uso ‘98, Mercati Ortofrutticoli, Pescara.
    Videostore, (organised by Nicolas Tremblay and Stephanie Moisdon), Brick and Kicks, Vienna.
    UK – Maximum Diversity, Galerie Krinzinger, Bregenz/Vienna.
    The Erotic Sublime, Thaddeaus Ropac, Salzburg.
    Entropy, (curated by Wilhelm Schurmann), Ludwigforum, Aachen.
    Places to Stay 4 P(rinted) M(atter), Buro Friedrich, Berlin.
    Weather Everything, (curated by Eric Troncy), Galerie für Zietgenössische Kunst, Leipzig.
    Odradek, (curated by Thomas Mulcaire), Bard College, New York.
    Mise en Scène, Grazer Kunstverein, Graz.
    Minimal-Maximal, Neues Museum Weserburg, Bremen; Kunsthalle, Baden-Baden; CGAC, Santiago de Compostela.
    Ghosts, Le Consortium, Dijon.
    Dijon/Le Consortium.coll, Centre Georges Pompidou, Paris.
    Cluster Bomb, Morrison/Judd, London
    The Project of the 2nd December, Salon 3, London.
    Projections, de Appel, Amsterdam.
    1+3 = 4×1, Galerie für Zietgenössische Kunst, Leipzig.

  • 1997

    Life/Live, Centro Cultural de Belém, Lisbon.
    Temps de Pose, Temps de Parole, Musée de l”Echevinage, Saintes
    Des Livres d’Artistes, L’ecole d’art de Grenoble, Grenoble.
    Ajar, Galleri F15, Jeløy.
    Enter: audience, artist, institution, (curated by Barbara Steiner), Kunstmuseum Luzern, Luzern.
    Space Oddities, Canary Wharf Window Gallery, London.
    Moment Ginza, (co-ordinated by Dominique Gonzalez-Foerster), Le Magasin, Grenoble.
    I Met A Man Who Wasn’t There, Basilico Fine Arts, New York.
    504, (curated by John Armleder), Kunsthalle Braunschweig.
    documenta X, Kassel.
    Enterprise, ICA, Boston.
    Group Show, Robert Prime, London.
    Ireland and Europe, Sculptors Society of Ireland, Dublin.
    Group Show, Vaknin Schwartz, Atlanta.
    Heaven – a Private View, PS1, Long Island.
    Hospital, Galerie Max Hetzler, Berlin.
    Kunst. . . Arbeit, SudWest LB, Stuttgart.
    Other Men’s Flowers, The British School at Rome, Rome.
    Maxwell’s Demon, Margo Leavin, Los Angeles.
    Work in Progress and or Finished, Ubermain, Los Angeles
    Group Show, Air de Paris, Paris.
    Group Show, Schipper & Krome, Berlin.

  • 1996

    Co-operators, Southampton City Art Gallery, Southampton.
    Traffic, (curated by Nicolas Bourriaud), CAPC, Bordeaux.
    Kiss This, (curated by Jeremy Deller), Focalpoint Gallery, Southend.
    March à l’ombre, Air de Paris, Paris.
    Departure Lounge, The Clocktower, New York.
    Everyday Holiday, Le Magasin, Grenoble.
    Der Umbau Raum, Kunstlerhaus, Stuttgart.
    Dinner, (organised by Giorgio Sadotti), Cubitt Gallery, London.
    Some Drawings From London, Princelet Street, London.
    Nach Weimar, (curated by Nicolaus Schafhausen and Klaus Biesenbach), Landesmuseum, Weimar.
    How Will We Behave?, Robert Prime, London.
    Escape Attempts, Globe, Copenhagen.
    Life/Live, Musée d’Art Moderne de la Ville de Paris, Paris.
    Such is Life, Serpentine London/Palais des Beaux Arts, Brussels/Herzliya Museum of Art.
    Itinerant Texts, Camden Arts Centre, London.
    Lost For Words, Coins Coffee Store, London.
    All in One, Schipper & Krome, Köln.
    A Scattering Matrix, (curated by Jane Hart), Richard Heller Gallery, Los Angeles.
    Found Footage, Tanja Grunert & Klemens Gasser, Köln
    Glass Shelf Show, ICA, London.
    Supastore de Luxe, Up & Co., New York.
    Limited Edition Artist’s Books Since 1990, Brooke Alexander, New York.

  • 1995

    Möbius Strip, Basilico Fine Arts, New York.
    Bad Times, (curated by Jonathan Monk), CCA, Glasgow.
    In Search of the Miraculous, Starkmann Library Services, London.
    The Moral Maze, Le Consortium, Dijon.
    Collection fin XXéme, FRAC Poitou Charentes, Angouleme.
    Summer Fling, Basilico Fine Arts, New York.
    Karaoke, (curated by Georg Herold), South London Art Gallery.
    Ideal Standard Summertime, Lisson Gallery, London.
    Reserve-Lager-Storage, Oh!, Bruxelles.
    Filmcuts, Neugerriemschneider, Berlin.
    New British Art, Museum Sztuki, Lodz.
    Brilliant, (curated by Richard Flood), Walker Art Centre, Minneapolis.
    Trailer, (curated by Barbara Steiner), Mediapark, Köln.

  • 1994

    Don’t Look Now, (curated by Joshua Decter), Thread Waxing Space, New York.
    Backstage, Kunstmuseum Luzern.
    Surface de Réparations, (curated by Eric Troncy), FRAC Bourgogne, Dijon.
    Cocktail I, Kunstverein in Hamburg.
    Public Domain, (curated by Jorge Ribalta), Centro’ Santa Monica, Barcelona.
    Grand Prix, (curated by Axel Huber), Monaco.
    Rue des Marins, Air de Paris, Nice.
    Mechanical Reproduction, (curated by Jack Jaeger), Galerie van Gelder, Amsterdam.
    WM/Karaoke, (curated by Georg Herold), Portikus, Frankfurt.
    Other Men’s Flowers, (curated by Joshua Compston), Hoxton Square, London.
    Miniatures, The Agency, London.
    Das Archiv, Forum Stadtpark, Graz.
    Lost Paradise, (curated by Barbara Steiner), Kunstraum, Vienna.
    Surface de Réparations 2, FRAC Borgougne, Dijon.
    The Institute of Cultural Anxiety, (curated by Jeremy Millar), ICA, London.

  • 1993

    Territorio Italiano, (curated by Giacinto di Pietrantonio), Milan.
    Claire Barclay, Henry Bond, Roderick Buchanan, Liam Gillick, Ross Sinclair,
    Gesellschaft fur Aktuelle Kunst, (curated by Tom Eccles) Bremen.
    Travelogue, (curated by Jackie McAllister), Hochschule fur Angewandte Kunst, Vienna.
    Los Angeles International, Esther Schipper at Christopher Grimes, Los Angeles.
    Wonderful Life, Lisson Gallery, London.
    Group Show, Esther Schipper, Köln.
    The London Photo Race, Friesenwall 120, Köln.
    Futura Book, Air de Paris, Nice.
    Points de Vue, Galerie Pierre Nouvion, Monaco.
    Manifesto, (curated by Benjamin Weil), Hohenthal und Bergen, München.
    Backstage, (curated by Stephan Schmidt-Wulffen & Barbara Steiner), Kunstverein in Hamburg.
    Two out of four dimensions, Centre 181, London.
    Dokumentation uber, arbeiten von, Esther Schipper, Köln.
    Unplugged, (curated by Nicolas Bourriaud), Köln.

  • 1992

    Tatoo, Air de Paris/Urbi et Orbi, Paris/Daniel Büchholz, Köln/Andrea Rosen, New York.
    Molteplici Culture, (selected by Giorgio Verzotti), Folklore Museum, Rome.
    Lying on top of a building the clouds look no nearer than they had when I was lying in the street, Monika Sprüth, Köln/Esther Schipper, Köln/Le Case d’Arte, Milan.
    Manifesto, (curated by Benjamin Weil), Daniel Büchholz, Köln/Castello di Rivara, Turin/
    Wacoal Arts Centre, Tokyo/Urbi et Orbi, Paris.
    Etats Spécifique, Musée d’art moderne, Le Havre.
    12 British Artists, Barbara Gladstone/SteinGladstone, New York.
    Group Show, Esther Schipper, Köln.
    ON, Interim Art, London.
    No Man’s Time, CNAC, Villa Arson, Nice.
    Air de Paris à Paris, Air de Paris, Paris.
    The Multiple Projects Room, Air de Paris, Nice.

  • 1990

    The Multiple Projects Room, Air de Paris, Nice.

Publications

  • 2018

    Ed. Elena Filipovic, The Artist As Curator: An Anthology, Milan, Mousse Publishing/Koenig Books, 2018, p. 296.
    Bickers, Patricia, ed.,Talking Art 2: Art Monthly Interviews with Artists Since 2007, London, Ridinghouse

  • 2017

    Voorhies, James, Beyond Objecthood, Cambridge: The Exhibition as Critical Form since 1968, Cambridge MIT Press.

  • 2016

    frieze A to Z of Contemporary Art, Phaidon Press, 2016.

  • 2015

    Van Tuyckom-Taets Collectiom, Leo Van Tuyckom, Belgium, pp. 72-73
    (ed.) Maroto, David and Zielińska Joanna, Artist Novels, Centre for the Documentation and Sternberg Press, 2015, pp. 57-62

  • 2014

    Simon Critchley illus. Liam Gillick, Memory Theatre, London, Fitzcarraldo Editions

  • 2013

    Pierre Joseph, Zurich, JRP-Ringier.
    Anna Moszynska, Sculpture Now, London, Thames and Hudson.
    Bruce Altshuler, Biennials and Beyond: Exhibitions that Made History 1962 – 2002, London, Phaidon.
    Maria Lind, Abstraction: Documents of Contemporary Art, London, Whitechapel Gallery, Cambridge, MIT Press.
    Michael Wilson, How to Read Contemporary Art, New York, Ludion/Abrams.
    Alexander Dumbadze and Suzanne Hudson, Contemporary Art: 1989 to the Present, London, Wiley/Blackwell.
    Phoebe Adler, John Slyce, Contemporary Art in the United Kingdom, London, Black Dog Publishing.
    Joe Day, Corrections and Collections, Architectures for Art and Crime, London, Routledge Chapman & Hall.
    Hans Ulrich Obrist, Do it, The Compendium, New York, DAP.
    Various Authors, Talking Art, Second Edition, London, Ridinghouse.
    Bartholomew Ryan (ed.) 9 Artists, Minneapolis, Walker Art Center

  • 2012

    Defining Contemporary Art, London, Phaidon.
    Sanctuary: Britain’s Artists and their Studios, London, Thames & Hudson.
    Print/Out, New York, MoMA.
    Utopia Gesamtkunstwerk, Köln, Verlag der Buchhandlung Walther Koenig.
    Andrea Stappert: Under the radar, Berlin, Kerber.
    Cultures of the Curatorial Beatrice von Bismarck, Jörn Schafaff, Thomas Weski (eds.), Berlin, Sternberg.
    Alex Katz, Give Me Tomorrow, London, Tate.
    Alex Katz, Vienna, Essl Museum.
    Paul O’Neill, The Culture of Curating and the Curating of Culture(s), Cambridge/London, MIT Press.
    Jeremy Cooper, Growing Up: The Young British Artists at 50, Munich, Prestel.
    Terry Smith, Thinking Contemporary Curating, New York, ICI.
    Keine Zeit Busy, Exhausted Self/Unlimited Ability, ed. Steinbrugge, Vienna, 21er Haus.
    Robert Morris, Hearing, ed. Gregor Stemmrich, Leipzig, Spector Book.
    Zoya Kocur and Simon Leung, Theory in Contemporary Art Since 1985, London, Wiley-Blackwell.
    Anna Detherighe, Scultori della Speranza, Torino, Piccola Biblioteca Einaudi.
    Riccardo Benassi, Attimi Fondamentali, Milan, Mousse.
    Åsa Nacking, Lunds Konsthall 2004-12 Offentlig Konst, Lund, Konsthall.
    Tamsin Dillon, The Roundel: 100 Artists Remake a London Icon, London, Art/Books.
    The Routledge Companion to Experimental Literature, London, Routledge.
    Creative Enterprise, London, Continuum.
    Fifty Key Texts in Art History, London, Routledge.
    Nikos Papastergiadis, Cosmopolitanism and Culture, London, Polity.
    Michael Petry, The Art of Not Making, London, Thames and Hudson.

  • 2011

    Activity, New York, DAP.
    Esopus 15, New York, Esopus.
    Heimo Zobernig, Essl Museum.
    Markus Weisbeck, Surface, Berlin, Sternberg.
    Micro historias y macro mundos 3, Mexico DF, Conculta.
    Are you working too much? Post-Fordism, Precarity, and the Labor of Art, Berlin, Sternberg Press.
    It’s not a garden table: Art and Design in the expanded field, Zurich, JRP-Ringier.
    In deed: Certificates of authenticity in art, ed. Susan Hapgood & Cornelia Lauf, Middelburg.
    Liam Gillick and Lawrence Weiner, A Syntax of Dependency, Milan, Mousse.
    Defining Contemporary Art, London, Phaidon.
    Artists and Legacy: A symposium, New York, Judd Foundation/Isamu Noguchi Foundation.
    The Captured Museum, Berlin, Jovis.
    Social Housing: Housing the Social, Berlin, Ment.
    Waking up from the Nightmare of Participation, Berlin, Expodium.
    The Air we Breathe, San Francisco, SFMOMA.
    Broken English, New York, Performa 11.
    Charlotte Bonham-Carter, David Hodge, The Contemporary Art Book, London, Goodman.
    Pandemonium, Art in a time of creativity fever, Goteborg Biennale.
    Caleb Kelly, Sound, London, Whitechapel Gallery, Cambridge, MIT Press.
    Felicity Allen, Education, London, Whitechapel Gallery, Cambridge, MIT Press.
    With Reference to Hans Haacke, Köln, Walther König.
    The First Three Years of Ludlow 38, Berlin, Spector Books.
    Borussan Contemporary Art Collection, Istanbul, Ertug & Kocabiyik.
    Shannon Jackson, Social Works: Performing Art, Supporting Publics, London, Routledge

  • 2010

    Be nice share everything have fun, Köln, Walther Koenig.
    Curating and the educational turn, edited by Paul O’Neill and Mick Wilson, London, Open Editions.
    Dot Dot Dot 18, Princeton Architectural Press.
    Isa Genzken, Mousse Publications.
    Lisa le Feuvre, Failure, London, Whitechapel Gallery, Cambridge, MIT Press.
    Kiosk: Modes of multiplication, Zurich, JRP-Ringier.
    Ce qui vient: Les ateliers de Rennes, Dijon, Les presses du reel.
    Of bridges and borders, Zurich, JRP-Ringier.
    Promises of the past: A discontinuous history of Eastern Europe, Zurich, JRP-Ringier.
    Architecture at the Edge of Everything Else, Cambridge, MIT.
    Boulevard Magenta 3, Dublin, IMMA.
    Lapdogs of the bourgeoisie, Bristol, Arnolfini.
    Liam Gillick and Gareth Long, Who invented the desk, Vancouver, V1.
    Grant Pooke, Contemporary British Art: An Introduction, London, Routledge.
    Deleuze and Contemporary Art, Edinburgh University Press.

  • 2009

    Anton Vidokle, Produce, Distribute, Discuss Repeat, Berlin, Sternberg.
    Nadine Monem, Art and Text, London, Black Dog.
    Art School: Propositions for the 21st Century, Cambridge, MIT.
    Communities of Sense, Duke University Press.
    Custom Car Commandos, New York, Dexter Sinister.
    e-flux journal reader, Berlin, Sternberg.
    Forty are better than one: Edition Schellmann 1969-2009, Hatje Cantz.
    Gareth Long, Second, Third, Fourth, Vancouver, Oakville Press.
    Germany’s contributions to the Venice Biennale 1895-2009, DuMont.
    How are you going to behave? A kitchen cat speaks, Berlin, Sternberg.
    Peephole Sheet, Milan, Mousse Publishing.
    Making Worlds, Biennale di Venezia.
    Rises in the east, London, Whitechapel Gallery.
    Maeve Connolly, The place of artists’ cinema, Intellect Books.
    Claire Doherty, Situation, London, Whitechapel Gallery, Cambridge, MIT Press.
    Richard Noble, Utopias, London, Whitechapel Gallery, Cambridge, MIT Press.
    Chroma, Design Architecture and Art in Color, Berlin, Birkhäuser.

Selected Reviews

  • 2017

    Barry, Tim, Social Medium: Artists Writing 2000-2015, Brooklyn Rail, 1 June, 2017 .
    Borchhardt-Birbaumer, Brigitte, Eine Frage des Zusammenlebens, Wiener Zeitung, 25 May 2017.
    Briegleb Till, Wo Gretel herrscht, Süddeutsche Zeitung, 12 February 2017.
    Cerri, Stèphane, Carré d’art à Nîmes : le signe au cœur de l’art, Midi Libre, 10 February 2017.
    Hunter-Tilney, Ludovic, New Order in a rave new world, The Financial Times, 16 June 2017.
    Rafferty, Penny, Liam Gillick, Esther Schipper / Berlin, flashartonline.com, 1 August 2017.
    Rea, Naomi, Liam Gillick Teams Up With New Order for Exclusive Manchester Shows, newsartnet.com, 11 July 2017.
    Searle, Adrian, True Faith Review - the exhilarating art and afterlife of Joy Division and New Order, theguardian.com, 4 July 2017.
    Sharratt, Chris, Manchester International Festival, Frieze, October 2017, pp. 220-221.
    ----, Vom Turmbau zu Babel bis zum Spinnennetz, Berliner Zeitung, 9 February 2017.
    ----, The Missing Issue, Art Monthly, April 1978/2017.

  • 2016

    Schwabsky, Barry, Reader’s Diary: Liam Gillick’s ‘Industry and Intelligence’, hyperallergic.com, 4 December 2016.
    Long, Declan, Dublin City Gallery The Hugh Lane, Artforum, October 2016, pp.281-282.
    Pugh, Adam, Liam Gillick: Industry and Intelligence, Art Monthly, issue 400, Ocotober 2016, p.36
    Serralves Museum of Contemporary Art, Porto, Art Review, March 2016, p.38.
    Currie, Nick, Okayama Art Summt 2006: “Development”, art-agenda.com, 17 October 2016.

  • 2015

    Beech, Dave, Liam Gillick: The Thought Style Meets the Thought Collective, Art Monthly, November 2015.
    Duguid, Hannah, Compelling search for lost utopias, The Independent, 20 November 2015, p. 49.
    Dupuis, Dorothée, International Currency: Lodos / Mexico City, flashartonline.com, 24 July 2015.
    Wright, Karen, The Summer Exhibition, Royal Academy of Arts, review, independent.co.uk, 8 June 2015

  • 2014

    Andrew Maerkle, On a certain day in a certain place and time, Art It, Tokyo.
    Milano Updates, Artribune, 30 March.
    Agnieszka Gratza, The Collector Couple… Financial Times, 13 June.
    Cate McQuaid, Pondering, Rejecting easy labels in an MIT group show, Boston Globe, 14 June.
    Jens Müller, Wir Beide, Der Tagesspiegel, 6 June.
    Marcus Woeller, Erzählungen aus dem Leben, Die Welt, 14 June.
    Solaris Chronicles, Wallpaper, 14 July.
    Éric Loret, A Metz, La compil des anées 90, Liberation, 20 July.
    Stefano Castelli, Relazionale ma non troppo, Artribune, 31 July.
    Éric Loret, Gillick, Le gimmick des années 90, Libération, 11 August.
    Emmanuelle Lequeux, Nouvel accrocharge, nouvel état des lieux, Beaux Arts, September.
    Iwona Blaswick, London Book Fair: Some of Britain’s best artists share their selfies, The Independent, 25 September.
    Hannah Davidsson, Sittvanor blev konst, Sydsvenskan, 25 September.

  • 2013

    Andrew Pulver, The Nyphomaniac…, The Guardian, 6 February.
    Liam Gillick, Art in Culture, Korea, May 2013. (Cover)
    Roberta Smith, 40 Nations 1000 Artists and One Island, New York Times, 10 May.
    Caroline Roux, East, West and Points Inbetween, Financial Times, 17 May.
    Tim Adams, Do it 2013, The Guardian, July 7.
    Andrew Pulver, Richard Curtis’ About Time adds Stardust…, The Guardian, 17 July.
    Thomas Abeltshauser, Im Stil einer Schaufensterpuppe, Monopol, 15 August.
    Iain Millar, Public Spaces, Private Lives, The Art Newspaper, September.
    Mary Abbe, Walker Art Center’s 9 Artists, Minneapolis Star Tribune, 31 October.
    Dan Fox, Then and Now: British Art and the 1990s, Frieze 159, November.
    Power 100, Art Review, November.
    Karen Rosenberg, Liam Gillick and Louise Lawler, New York Times, 21 November.
    Tyler Coburn, Liam Gillick and Louise Lawler, Art Agenda, 16 December.
    D. Creahan, Liam Gillick and Louise Lawler, Art Observed, 16 December.

  • 2012

    Nicolas Tremblay, Liam Gillick, Numero, January.
    Christa Benzer, Schilder, Notizen und Baukastensätze, Der Standard, 15 February.
    Fionn Meade, Spaces of Critical Exchange, Mousse, No 33.
    Florence Waters, Sanctuary, The Daily Telegraph, 23 March.
    Anna Francke, Plastik fürs Gehirn, Zueritipp, 29 March.
    Morgan Quaintance, Private Moments, Art Monthly, March.
    John Douglas Millar, The Ethics of Discomfort, Art Monthly, March.
    Max Glauner, Liam Gillick: Scorpion or Felix, Kunstforum, 14 May.
    William Corwin, Interview with Liam Gillick, Brooklyn Rail, May. (cover)
    Studio Visit: Liam Gillick, Modern Painters, June. (cover)
    Liam Gillick, Du Magazine, June.
    Roberta Smith, Like watching paint thrive, New York Times, 28 June.
    Ken Johnson, Art begetting art and social commentary too, New York Times, 5 July.
    Norm Paris, Draw it with your eyes closed, Brooklyn Rail, July-August.
    Agnieska Gratza, Liam Gillick at Casey Kaplan, Flash Art, July-September.
    Simon Critchley, Absolutely too much, Brooklyn Rail, July-August.
    Brita Sachs, Die Splitter einer Stadt, Frankfurter Allgemeine, 4 August.
    Hans Ulrich Obrist, Life brought to Art, Financial Times, 17 August.
    Alte Meister von Neuen Geliebt, Liam Gillick, Monopol, August.
    Holger Liebs, Moonwalk am Strand, Monopol, August.
    Liam Gillick, Flour Magazine, #3, August.
    Gillick and Weiner Face to Face, Muse Magazine, September.
    Jovenes de Gernika, El Correo, 11 September.
    TJ McNamara, Murders Most Foul, The New Zealand Herald, 8 September.
    País Vasco, El Museo Guggenheim Bilbao acoge desde este jueves la muestra ‘Arquitectura habitada’, La Vanguardia, 20 September.
    Niklas Maak, Was zeigt der deutsche Pavillon 2013? Frankfurter Allgemeine, 19 September.
    Koldo Domínguez, Astra, una nueva arma para la cultura, El Correo, 8 September.
    Iratxe Astui, Jóvenes de Gernika inaugurarán la Fábrica de la Creación en diciembre, El Correo, 11 September.
    Una muestra en el Guggenheim reflexiona sobre la arquitectura habitada, El Mundo, 19 September.
    El relato de cuatro paredes, El Pais, 20 September 20.
    Gorka Alonso Gil, El británico Liam Gillick da un toque multicolor a la fábrica de armas de Gernika, El Mundo, 21 September.
    Gaile Robinson, Where is the power’ at Fort Worth Contemporary Arts, Star-Telegram, 3 September.
    Alexander Menden, Ausgeburt pompösen Kitsches, Süddeutsche Zeitung, 18 October.
    Sven Lütticken, Inside Abstraction, e-flux Journal, 10/12.
    The Power 100, Art Review, November.
    Other People and their Ideas, Interview with Tom Eccles, Art Review, November.
    Louisa Buck, Lawrence Weiner: Man of his word, The Art Newspaper, November.
    I always wondered what it would be like, Interview, Flash Art, November-December.
    Timothée Chaillou, Apparaître Ici, Dossier, December.
    Bill Roberts, Burnout: Liam Gillick’s Post-Fordist Aesthetics, Journal of the Association of Art Historians, December.

  • 2011

    Francesco Garutti, Liam Gillick and Marc and Josée Gensollen, Domus 945.
    Angelique Campens, A syntax of dependency, Domus, 945.
    Jan Van Hove, Het Tricolore Museum, De Standaard, 4 February.
    Eric Rinckhout, Kunst om over te lopen, wandelen of kruipen, 7 February.
    Dominique Legrand, G&W: un dialogue à meme le sol, 9 February.
    Thomas Kliemann, Wir sind ständig auf de suche, General Anzeiger, 12 February.
    Filip Marsboom, Grooste kunstwerk ooit in B gemaakt in M KHA, 16 February.
    Marc Holthof, Wandeling over een kunstwerk, H’Art, 10.2.11
    Die Kunststars kommen, Pforzheimer Zeitung, 17 March.
    Luk Lambrecht, Het Buikbare Museum, Knack, 1 March.
    Negar Azimi, Good Intentions, Frieze, March.
    Margaret Garlake, Modern British Sculpture, Art Monthly, March.
    Mark Prince, Modern British Sculpture, Art Monthly, March.
    Tom Morton, Modern British Sculpture, Frieze, April.
    Steven Madoff, Anton Vidokle, Modern Painters, April.
    Matthew Collings, Modern British Sculpture, Modern Painters, April.
    Henriette Thompson, Seductive Reductive, Wallpaper, April.
    Anna Jenkinson, Floored, DAMn 28, April/May.
    Coline Millard, Marseilles: City on the verge of a cultural buzz, New York Time, 14 May.
    Dieter Roelstraete, Word Play, Frieze, May.
    Corinna Kirsch, Which witch is which, Art Papers, May – June.
    Alex Coles, Maria Lind, Art Monthly, July – August.
    Daniel Kunitz, Texting: The artists as writer, Modern Painters, Summer.
    Liam Gillick and Lawrence Weiner, Metropolis M, June.
    Antje Stahl, Wie entsteht die Kunst?, Monopol, July.
    Michael Bracewell, Books Survey, Frieze, September.
    Georgina Adam, One of a kind, Financial Times, 11 October.
    Zara Tellander, Kont och forsckning möttes i bilindustrin, Bohusläningen, 25 October.
    Martin Herbert, Liam Gillick and Lawrence Weiner, Art Review, September.
    Louisa Buck, There’s a perversity in my method, Liam Gillick Interview, The Art Newspaper, November.
    The Power 100, Art Review, November.
    Marina Cashdan, Sweater Art in Miami, New York Times, 8 December.

Press

  • 2018

    Giilick, Liam, Liam Gillick Meets Joan Jonas, Art Review March 2018, pp.65-73.
    Indrisek, Scott, 17 Artists Share the Music That Inspires Them, artsy.net, 27 June 2018.
    Murray, Robin, New Order Announce New Documentary, clashmusic.com, 13 August 2018.
    Tornow, Sam, New Order Announce Concert Documentary 'Decades', billboard.com,13 August 2018
    ––––, ‘Culture is a Birthright’: Eight Leading UK Artists on the Perils of Excluding Arts in Schools, frieze.com, 12 June 2018
    ––––, Frieze New York Opens, artforum.com, 2 May 2018.
    ––––, New Order announce huge London show, diymag.com, 4 September 2018.

  • 2017

    Binns, Simon, Why Manchester is set for a totally EPIC Thursday night..., manchestereveningnews.co.uk, 28 June
    2017.
    Borchhardt-Birbaumer, Brigitte, Eine Frage des Zusammenlebens, Wiener Zeitung, 25 May 2017.
    Bounds, Andy, New Order provide a bittersweet start to the Manchester International Festival, ft.com, 30 June 2017.
    Briegleb, Till, Wo Gretel herrscht, Süddeutsche Zeitung, 12 February 2017.
    Cascone, Sarah, Julie Mehretu and Other All-Star Artists Blast Trump’s Immigration Ban in a New Poster Campaign, news.artnet.com, 25 September 2017.
    Cerri, Stèphane, Carré d’art à Nîmes : le signe au cœur de l’art, Midi Libre, 10 February 2017.
    Empire, Kitty, True Faith; New Order + Liam Gillick: So it Goes review – Factory legacy holds sway, theguardian.com, 9 July 2017.
    Heward, Emily, Review: New Order at Manchester International Festival, manchestereveningnews.co.uk, 30 June
    2017.
    Hofleitner, Johanna, Curated by: Das Material sprechen lassen, Die Presse, 15 September 2017.
    Hohmann, Angela, Auf Holz Gebaut, Berliner Morgenpost, 18 July 2017.
    Hornby, Stephen M, Review | New Order + Liam Gillick: So It Goes, Manchester, attitude.co.uk, 3 July 2017.
    Hunter-Tilney, Ludovic, New Order in a rave new world, The Financial Times, 16 June 2017.
    Parsons, Elly, Northern Star: performance art shines at Manchester International Festival, Wallpaper.com, 13 July
    2017.
    Rafferty, Penny, Review: Liam Gillick Esther Schipper / Berlin, flashartonline.com, 1 August 2017.
    Rogers, Jude, Forever Watching Love Grow: New Order Live At MIF, thequietus.com, 17 July 2017.
    Roux Caroline, In the South of France a Mitterand builds a lush art park, W Magazine, July 2017.
    Sibbald, Laura, On my radar: Iwona Blazwick’s cultural highlights, The Guardian, 25 June 2017.
    Simpson, Dave, New Order + Liam Gillick: So It Goes review – a suitably theatrical Manchester return,
    theguardian.com, 2 July 2017.
    Somers, Thierry, Liam Gillick – New Order, 200-percent.com, July 2017.
    Stakemeier, Kerstin, Preview: How to Live Together, Artforum, May 2017, p.169.
    Vogel, Sabine B., Hier Spricht die Kunst, Welt am Sontag, 24 September 2017.
    Youngs, Ian, New Order and Levelz: The continuing reinvention of Manchester music, bbc.co.uk, 30 June 2017.
    Youngs, Ian, Manchester International Festival puts New Order and politics centre stage, bbc.co.uk, 9 March 2017.
    ---, ∑(Νo,12k,Lg,17Mif) New Order + Liam Gillick: So it goes..., e-flux.com, 29 June 2017.
    ---, New Order and Liam Gillick collaborate for Manchester International Festival, artreview.com, 10 March 2017.
    ----Vom Turmbau zu Babel bis zum Spinnennetz, Berliner Zeitung, 9 February 2017.
    ----, Liam Gillick’s ‘Were People This Dumb Before TV? A Curated Selection from the Graphic Archive 1990–2017’ at Esther Schipper, Berlin, blouinartinfo.com, 14 July 2017.
    ----, The Missing Issue, Art Monthly, April 1978/2017.
    ----, Factory outlet: the art inspired by Joy Division and New Order, The Guardian, 27 June 2017.
    ----, The Power 100, Art Review, November 2017, pp. 102 - 131.

  • 2016

    Abrams, Amah-Rose, Liam Gillick is Artistic Director of Okayama Art Summit’s First Edition, Artnet.com, 9 August 2016.
    Affrexio, Rodrigo, Liam Gillick numa exposiçao à medida de Serralves, Sábado, 29 January 2016.
    Andrade, Sérgio C, Wolfgang Tillmans entre o céu e o mar, com Grândola Vila Morena em fundo, Publico, 29 January 2016.
    Azami, Negar, Sorry, I’m not Sorry, Frieze, September 2016.
    Ballard, Theo, Liam Gillick, Casey Kaplan, Modern Painters, May 2016.
    Bell, Jonathan, Crystal Clear: The JTI headquarters, Architecture, 21 March 2016.
    Softe Revolution, Monopol, May 2016.
    Bleiberg, Laura, L.A. Dance Project delivers mesmerizing debut at the Wallis, L.A. Times, 31 January 2016.
    Corner, Chris, Harnessing the Power of the Spoken Word, Limerick Leader, 8 May 2016.
    ----, Eine Installation wie eine Urversion von Youtube, Süddeutsche Zeitung, 29 April 2016.
    Debraine, Luc, Benjamin Millepied chez Maja Hoffmann, 7 July 2016.
    Dehn, Georgia, Towering Art and A-list Architecture, Wallpaper, 27 December.
    ----Features, galleriesnow.net, 30 October 2016.
    ----Deutsche gewinnen an Einfluss im Kunstbetrieb, Suddeutschezeitung, 20 October 2016.
    Duguid, Hannah, A Fair Land, Frieze, August 2016.
    Duponchelle, Valérie, La Dolce Vita aux Rencontres d’Aries, Le Figaro, 7 July 2016.
    Franck-Dumas, Elisabeth, Eric Cantona: Mon Père m’emmenait dans des galeries, Libération, 12 June 2016.
    Fessle, Anne Katrin, “Beton”: Ideen im Flackerlicht und hellen Sonnenschein, Der Standard, 24 June 2016.
    García, Montse, El CGAC reivindica el papel de la colección en su nueva muestra, la Voz de Galicia, 1 July 2016.
    Gillick, Liam, Fake Exhibition, Mousse, vol 33, December 2016-January 2017, pp. 385-387.
    Gillick, Liam; Rose, Rachel, Now and Then, Modern Matter, issue 10.
    Gillick, Liam, Europa: dumm, betäubt, pleite, Suddeutschezeitung, 6 August 2016.
    Hefty, Kathleen, Phantom Structures, Muse, Issue 43, Spring/Summer 2016.
    Herbert, Martin, British Art Show 8, Frieze, issue 176, January-February 2016.
    Hülsmeier, Dorothea, Die Wichtigsten in der Kunstszene, Mittelbayerische, 20 October
    Jelcic, Ivona, Harte Schale, visionäre Kern, Tiroler Tageszeitung, 20 July 2016.
    Jones, Caroline A., Industry and Intelligence: Contemporary Art Since 1820, Critical Inquiry, 5 July 2016.
    Kuhn, Nicola, Origami für Freunde, Der Tagesspiegel, 30 April 2016.
    Kurtz, Thomas, Pforzheimer Künstler bei Fünfzig Zigarren für das Licht der Zukunft, Pforzheimer Zeitung, 21 May 2016.
    ----, Liam Gillick, Art Now, Issue 15.
    ----,Liam Gillick: Panthom Structures, Mousse, February – March 2016.
    ----,Liam Gillick’s first exhibition in Portugal on view at Serralves Museum of Contemporary Art, artdaily.com, February 2016.
    ----Liam Gillick Interviewed by Leon Ransmeier, Photographed by Jeremy Liebman, apartamento, June 2016, pp. 178-191.
    Long, Declan, Liam Gillick, Artforum, October 2016.
    McKean, Cameron Allan, Sci-fi and Fact at the Okayama Art Summit, The Japan Times, 18 October 2016.
    Neil T.D., Jonathan, Industry and Intelligence: Contemporary Art Since 1820, ArtReview, April 2016, p.128.
    Pacelli, Alessandra, Artiaco ‘ex ragazzo con il sogno dell’arte, Il Mattino, 12 December 2016.
    Pantry, Lindsay, The spectacle becomes the spectator for new exhibition at Yorkshire Sculpture Park, Yorkshire Post, 14 July 2016.
    ----Phillippe Parreno and Liam Gillick, Frieze Week, 3 October 2016.
    Pinheiro, Susana, E se as memórias de um artista britânico soarem a Grândola Vila Morena?, Diario de Noticias, 29 January 2016.
    Plagans, Peter, A Minimalist Heaven, Wall Street Journal, 14 March 2016.
    Pugh, Adam, Liam Gillick: Industry and Intelligence, Art Monthly, October. issue 400, October 2016, p.36
    Ransmeier, Leon, Liam Gillick, Apartamento, Issue 17, Spring/Summer 2016.
    Ratnam, Niru, How the Tate Modern Changed Art in Britain, Vice, 16 June 2016.
    ----, Role Play, Mousse, issue 54, June 2016.
    Stange, Raimar, Hart wie Real Life, Art – Das Kunstmagazin, 25 June 2016.
    ----Power 100, Art Review, November, p30.
    Smith, Roberta, Diving Into Moving Palaces of the Mind at the Whitney, New York Times, 1 December 2016.
    ----,The Winter Ambiguity, Mousse, Issue 55, October-November 2016.
    Thompson, Jessie; Whitlock, Simon, Art on the Underground commission in London pays tribute to 1960s spy movies, Evening Standard, 4 July 2016.
    Tomkins, Calvin, Alex Poots: Performance Art Impresario, The New Yorker, 5 December 2016.
    Ulrich Obrist, Hans, Wie das Auto, So Die Kunst, Das Magazin, 21 May 2016.
    ----,Whitney announces exhibition on immersive cinema and art, archpaper.com, 7 June 2016.
    Zaoui, Julie, Benjamin Millepied rejoint Maja Hoffmann à Luma Arles, La Provence, 1 June 2016.
    ----Zeilkunst siert Middellandse Zee, Der Standard, 1 September 2016.
    Zitzmann, Marc, Von Kickern und Künstlern, Neue Zürchner Zeitung, 24 June 2016.
    ----25 Artworks, Frieze, September 2016.

  • 2015

    Abrams, Amah-Rose, Carolyn Christov-Bakargiev’s Istanbul Biennial Makes Political Statements With Outstanding Art, news.artnet.com, 4 September 2015.
    Allsop, Laura, Arles, Another Magazine, Autumn/Winter.
    Aspden, Peter, The Art of Nations Building in Albania, Financial Times, 17 July.
    Beech, Dave, Liam Gillick: The Thought Style Meets the Thought Collective,
    Art Monthly, November 2015.
    Beth Mason, Shana, A decleration of independant, installationmag.com.
    Bowley, Graham, Bard Library to grow, nytimes.com, 12 June 2015
    Brown, Mark, Art on the underground: New project aims to electrify Victoria line, The Guardian Online, 29 June 2015.
    Carey-Kent, Paul The Thought Style Meets the Thought Collective: A Response and Dave Beech Replies, Art Monthly, p.13
    Civle, Agnese, An Interview with British Artist Liam Gillick in Amsterdam, Art Territory Online, 18 June 2015.
    Connor, Michael, Either We Inspire or We Expire: New Work by Liam Gillick and Nate Silver, rhizome.org, 22 October 2015.
    Corwin, William, Moving Image Department and Stanislav Kalibal, Brooklynrail Online, 2 April 2015.
    Dunne, Aidan, Grand Gestures and a Forbidding Landscape, The Irish Times, 14 July.
    Duponchelle, Valerie, Rencontre Arles 2015, Le Figaro, 10 July.
    Duguid, Hannah, Compelling search for lost utopias, The Independent, 20 November 2015, p. 49.
    Dupuis, Dorothée, International Currency: Lodos / Mexico City, flashartonline.com, 24 July 2015.
    Forrest, Nicholas, Philippe Parreno’s Exhibition “Hypothesis” at HangarBicocca in Milan, blouinartinfo.com, 27 October 2015.
    Heddaya, Mostafa, 11 Things to See (and Hear) at the New York Art Book Fair, blouinartinfo.com, 17 September 2015.
    Hopkinson, Emma, Disruptive art: Liam Gillick explores collective tensions at Maureen Paley, wallpaper.com, 16 October 2015.
    Huber, Nina, Liam Gillick, Schweizer Illustrierte Style, October.
    Moorman, Mark, Serious Fun: Kunst en gein op Museumplein, Het Parool Amsterdam, 1 June 2015.
    Nathanson, Hannah, Neighbourhood watch: Capital Exhibitions during Frieze London, British Vogue, November 2015, p. 137.
    Luke, Ben, Leeds Art Gallery emptied out for British Art shows collaborative spirit, theartnewspaper.com, 9 October 2015.
    Ogut, Ahmet, All Together, Frieze, September 2015, pp. 137-140.
    Poole, Robert Michael, The Fairmont Presents “The Art of Development” in Hotel that Helped Define Vancouverism, blouinartinfo.com, 18 October 2015.
    Schröder, Thorsten, Schreddern genen den Überwachungsstaat, Die Zeit, 4 May 2015.
    Schmid, Lydia, Die Kunst des Weglassens, Die Welt, 3 May 2015.
    Somers, Thierry, Liam Gillick at Maureen Paley (Part 1), 200-percent.com, November 2015.
    Staff, Freeman, Curatorial Studies center at Bard College to Grow this summer, Daily Freeman News, 16 June 2015.
    Steer, Emily, Liam Gillick: The Thought Style Meets the Thought Collective at Maureen Paley, elephantmag.com, October 2015.
    Thorpe, Vanessa, Forget sex tours... Amsterdam lures UK art lovers, The Observer, 2 May 2015.
    Tripney, Natasha, Ruth MacKenzie: Holland Festival, The Stage, 2 April 2015.
    Wise, Louis, Door of Perception, The Sunday Times, 7 June 2015.
    Wright, Karen, The Summer Exhibition, Royal Academy of Arts, review, independent.co.uk, 8 June 2015.
    Yablonsky, Linda, The Art of the Curious Nineties, Art News, 29 January 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.com, 1 November 2015.
    ----, Art+Culture Projects Announces Participation in Expo Chicago; Will Commission Nine New Artists, broadwayworld.com, 6 October 2015.
    ----, Art in the 90s: Relational Aesthetics, AMA Online, 9 July 2015.
    ----, ‘Artists in Their Time’ at Istanbul Modern, hurriyetdailynews.com, 19 August 2015.
    ----, Bard College Awarded $1 Million Grant from The Brant Foundation, Inc., to Support Curatorial Studies and Art History, bard.edu, September 2015.
    ----, British Art Show 8 Unveiled Today In Leeds, artlyst.com, 9 October 2015.
    ----, Frieze week highlights: ArtReview selects ten shows to see this week in London, artreview.com, 12 October 2015.
    ----, Fussball ist Kunst, Monopol, August.
    ----, Gillick e l’ossessione del controllo, La Repubblica, 11 September.
    ----, Holland Festival begint veelzijdig, NRC Amsterdam, 1 June 2015.
    ----, Kunsttop op Museumplein, Het Parool Amsterdam, 1 June 2015.
    ----, Liam Gillick, The Thought Style Meets the Thought Collective, Maureen Paley, London, aestheticamagazine.com, 21 October 2015.
    ----, Power 100: 54, Liam Gillick, Art Review, November 2015, p.148.
    ----, Printed Matter’s 10th Annual NY Art Book Fair Opens this Week,
    hyperallergic.com, 16 September 2015.
    ----, Queues of People Eager to Explore Contemporary Art World, nyartsmagazine.com, September 2015.
    ----, “SALTWATER: A Theory of Thought Forms” - 14th Istanbul Biennial, moussemagazine.it, 15 September 2015.
    ----, United Kingdom - London, Maureen Paley: Liam Gillick: The Thought Style Meets the Thought Collective, Mousse, October - November 2015, p. 301.

  • 2014

    Blair. Jo, Exhibition: An Interview with Liam Gillick, ica.org.uk/blog, 30 April
    Blazwick, Iwona, Tracey Emin and Damien Hirst share their ‘shelfies’ for London Art Book Fair, 25 September 2014
    Bumbliené, Neringa, Fotoreportazas is Nuo 199C iki 199D. Liam Gillick, artnews.it, 08 July 2014
    Chang, Helen, Word + Work, Frieze d/e No.12, December 2013 – February 2014
    Fraser, Daniel, Cult of Memory: Simon Critchley Interviewed, thequietus.com, 02 November 2014
    Martinez, Alanna, The Chillest Art Fair Out There: Independent Projects Sets a Laid-Back Pace, observer.com, 6 November 2014
    Nabeyrat, Estelle, De 199C à 199D de Liam GIllick, Le Jeudi, 31 July 2014, p.22
    Portier, Julie, Liam Gillick : Être de son temps, LE QUOTIDIEN DE L’ART / NUMÉRO 639, 07 July 2014
    Rian, Jeff, Philippe Parreno, Palais De Tokyo, Paris, Artforum, January 2014
    Schwendener, Martha, Independent Projects Unveils New Art Fair Concept: A Show, nytimes.com, 7 November 2014
    Serafin, Amy, Solaris Chronicles: an exhibition celebrating the ground breaking of a new building by Frank Gehry is a moveable feast, wallpaper.com, 14 July 2014
    Stefan, Olga, Liam Gillick From 199C to 199D, Art Review, September 2014
    Zara, Janelle, Frank Gehry: The Musical, archrecord.construction.com, 21 July 2014
    ——, Liam Gillick “From 199C to 199D” at le Magasin, Grenoble, moussemagazine.it, 22 July 2014
    ——, “From 199C to 199D”, domusweb.it, 01 August 2014

  • 2013

    Creahan, D, New York – Louise Lawler and Liam Gillick at Casey Kaplan Through December 21st, 2013, Art Observed Online, December 16 2013.
    Glass, Liz, Liam Gillick and Louise Lawler: November 1 – December 21 at Casey Kaplan Gallery, Daily Serving Online, December 4 2013.

  • 2012

    Herbert, Martin, Reviews/Exhibitions – Liam Gillick, Art Monthly, Nov 2012, p. 32.
    Eccles, Tom, No 2: Liam Gillick, ArtReview, November 2012, pp. 74-76.
    Interview: Liam Gillick, I Always Wondered What It Would Be Like, Flash Art, November – December 2012, pp.62-65.
    Meade, Fionn, Spaces of Critical Exchange, Mousse, April-May 2012, pp. 222-231.
    Kunitz, Daniel, Studio Check – Liam Gillick, Modern Painters, June 2012, pp. 34-35.

  • 2011

    Anna Jenkinson, Floored, Damn Magazine, April-May 2011, pp.34-36.
    David Ulrichs, Lawrence Weiner and Liam Gillick, Modern Painters, May 2011, pp. 75.
    Dieter Roelstraete, Word Play, Frieze, May 2011, pp. 98-103.
    Liam Gillick, Terraces of Desire, Art Review, November 2011, pp. 99-101.
    Martin Herbert, Liam Gillick and Lawrence Weiner, Art Review, September 2011, pp.175 and 177.
    Michael Bracewell, Andrew Renton and Liam Gillick (eds.), Technique Anglaise (1991), Frieze, September 2011, p.146.
    Oliver Basciano, Consumed: Liam Gillick & Corinne Jones, Art Review, March 2011, p.55
    The Power 100: 32, Liam Gillick, Art Review, November 2011, p.127.

  • 2010

    Carly, Berwick, Higher Education, Art in America, March 2010, pp.59-64.
    Merrily Kerr, Liam Gillick, Discussion Bench Platforms, a ‘Volvo Bar’ + Everything Good Goes, Time Out New York, 11 March 2010, p.54.
    Jones, Jonathan, The bigger picture; Liam Gillick, The Guardian G2, 27 April 2010, p.12.
    Larry Rohter, After the Putti, the Baby Calamari, New York Times, Jan 29.
    Arbeit, Kino, Kunst: Tout va bien, Der Standard, March 3.
    Sean Keller, Liam Gillick; Museum of Contemporary Art, Chicago, Artforum, April 2010, pp.188-189.

  • 2009

    Konstanze Crüwell, Utopien in der Lagune, Frankfurter Allgemeine, Jan 20.
    Holger Liebs, Bode und Bauhaus, Suddeutsche Zeitung, Jan 20.
    Benjamin Carlsson, theanyspacewhatever, Frieze, Jan-Feb.
    Brian Scholis, theanyspacewhatever, Afterall, Feb.
    Dave Beech, Recovering Radicalism, Art Monthly, Feb.
    Liam Gillick Rekonstruiert…, Die Welt, Feb. 14.
    Liam Gillick, Stories, Peep Hole, Issue 1, Summer 2009.
    Thomas Wulffen, Berlin: Wer nicht dabei war, gehört nicht dazu, Art Magazine, Feb 16.
    Nicola Kuhn, Was ist deutsch, Tagesspiegel, Feb 14.
    Scott Woods, & Liam Gillick, Adam and Eve, March-April.
    Jennie Sorkin, Ours, Frieze, issue 121.
    John Kelsey, theanyspacewhatever, Artforum, March.
    Helen Molesworth, Social Problem, Artforum, March
    Carrie Lambert-Beatty, theanyspacewhatever, Texte zur Kunst, March.
    John Slyce, Recuperating Modernism, Art Monthly, March.
    Mafred Engeser, Liam Gillick uber die Nähe zwischen Künstlern und Lumpensammlern, Wirtschafts Woche, April 19.
    Christian Tröster, Fasziniert von den Momenten des Scheiterns, Hauser, Issue 3.
    Laura Allsop, Art and Class: The Arnolfini Priviledge, The Guardian, May 20.
    The Venice Biennale, L’Uomo Vogue, June.
    Mirja Rosenau, Neue Deutsche Freiheit, Art Magazin, June.
    Matthew Brannon, Liam Gillick, Interview Magazine.
    Nicola Kuhn, Deutscher Pavillon von Gillick Gebaut, Tagesspiegel, May 31.
    Richard Dorment, Venice Bienale 2009: Behind the Mask, June 8.
    Adrian Searle, Bodies, Babble and Blood, The Guardian, June 9.
    Ingo Arend, Küche statt Krieg, Der Freitag, June 7.
    Taraneh Fazeli, Class Consciousness, Artforum, Summer.
    Saul Orstrow, Practical Considerations, Art in America, Summer.
    Daniel Völzke, Hörbüchern, Monopol, Summer.
    Aidan Dunne, At the heart of a new art world, Irish Times, July 10.
    Angela Molina, A double agent in the Venice Biennale, El Pais, July 4.
    Holger Liebs, Drei Mann in einem Ohr, Suddeutsche Zeitung, Aug 4.
    Michael Hübl, Die Trojanische Katze, Kunstforum, 198
    Heinz-Norbert Jocks, Die uneingepasste Küche, Kunstforum, 198.
    Tom McDonough, Liam’s (not) Home, Texte zur Kunst, Issue 75.
    Lynne McRitchie, Venice 2009, Art in America, Sept.
    Charlotte Higgins, Hyper-Active Swiss Curator tops artwork power list, The Guardian, Oct 15.
    Markus Mittringer, Frankfurter Küche, Wiener Verhältnisse, Der Standard, Oct 20.
    Britischer Künstler Liam Gillick stellt im MAK aus, Kleine Zeitung, Oct 20.
    Marsha Lederman, Vancouver Public Art on a Grand Scale, The Globe and Mail, Dec 5.
    Kevin Griffin, High-Profile public art soars 18 storeys high, Vancouver Sun, Dec 5.

  • 2008

    Jenny Turner, The Way we Live Now, The Guardian, Jan 2.
    Liam Gillick, Tema Celeste, Jan-Feb.
    Emily Pethick, Anyang Public Art Project, Frieze, Jan-Feb
    Lillian Haberer, Liam Gillick, Artforum, January.
    Gerhard Mack, Meister der Täuschung, Art, Jan.
    Susannah Frankel, Master Minds, The Independent, Jan 23.
    Bert Mebius, Interview with Liam Gillick, Groene Amsterdammer, Jan 25.
    Paulina Szczesniak, Die etwas andere Retrospektive, Tagesanzeiger, Zürich, Jan 27.
    Paulina Szczesniak, Gegen die Warenförmigkeit von Kunst, Tagesanzeiger, Zürich, Jan 28.
    Julia Voss, Ein Ausblick auf die Zukunft der Skulptur, Frankfurter Allegemeine, Jan 28.
    Janneke Wesseling, Dreigende leegte, NRC Handelsblad, Feb 1.
    Jörg Häntzschel, Der dreckige charme von Downtown, Suddeutche Zeitung, Feb 6.
    Neuer Kunstraum in New York, Allgäuer Zeitung, Feb 5.
    New York: Goethe Institut eröffnet neuen Kunstraum, Die Zeit, Feb 4.
    Edith Krebs, Eindeutig uneindeutig, Neue Zürchner Zeitung, Feb 6.
    Daniel Schreiber, Goethe Reloaded, Die Tageszeitung, Feb 10.
    Jordan Mejias, Alles so schön grün hier, Frankfurter Allegemeine, Feb 7.
    Frits de Coninck, Kunst over kunst, FD Persoonlijk, Feb 9.
    Pieter van Bogaert, Een Onwennige Leegte, Art, Feb 14.
    Andreas Köhler, Goethe Downtown, Neue Zürchner Zeitung, Feb 15.
    Liam Gillick: Proxemics, Exit Magazine, Madrid, Feb.
    Ilse van Rijn, Liam Gillick, Metropolis M, no. 2.
    Sandra Bradvic, Rollenwechsel, artensuite, March.
    Liam Gillick, Artecontexto, March.
    Ina Blom, The Logic of the Trailer, Texte zur Kunst, 69.
    Sven Lütticken, Living with Abstraction, Texte zur Kunst, 69.
    Lars Kwakkenbos, Catastrofe in het museum, De Standaard, Mar 14.
    Janneke Wesseling, Liam Gillick, NRC Handelsblad, Mar 15.
    Bianca Visser, Liam Gillick, Exit Express, March.
    Ben Lewis, Trapped in Kubrick Land, The Evening Standard, April 25.
    Katie Kitamua, Liam Gillick, Frieze, April.
    Brett Sokol, Miami Art Machine, New York Magazine, April 27.
    Liam Gillick, Modern Painters, April.
    Jean-Max Colard, Blanche Neige, Les Inrockupticles, April 8.
    Holder Liebs, Drei Perspectiven und ein kurzes Szenario, Süddeutsche Zeitung, May 21.
    Barbara Basting, Kunstgeschichte und Qualität, Tagesanzeiger, May 21.
    Wir sind Brite, Neues Deutschland, May 22.
    Christina Tilmann, Ein Holzweg, Tagesspiegel, May 22.
    Liam Gillick im deutchen Pavillon 2009, Kölner Stadt-Anzeiger, May 22.
    Brite Liam Gillick Löst Grenzen auf, Neue Presse, May 24.
    Jerry Salz, Liam Gillick, New York Magazine, June 6.
    Ken Johnson, Liam Gillick, New York Times, June 6.
    T. J. Carlin, The State Itself Becomes a Super Whatnot, Time Out NY, Issue 661.
    Judith Souriau, Factories in the Snow, Cahiers du MNAM, Spring.
    Danny Zuvela, The Brisbane Sound, Art Monthly Australia, July.
    Nicole Scheyerer, Wodka und Glitter für das Volk, Die Presse, Wien, July 2.
    Adrian Searle, Dazzled by Rings, The Guardian, July 30.
    Bruce Constantineau, Poetry embraces Vancouver tower hotel, The Vancouver Sun, Aug 28.
    Art Marks Tube Logo’s Party, BBC News, Sept 3.
    Tom Lubbock, Tunnel Vision, The Independent, Sept 22.
    Roberta De Righi, Salz in der Globalen, Suppe, Abendzeitung, Sept. 25.
    Oliv Freia, Mit Deutschland Arbeiten, Münchner Merkur, Sept. 26.
    Saul Ostrow, Liam Gillick, Art in America, September.
    Stefanie Richter, Als würde er einen Laden renovieren, Gala, Oct. 9.
    Rüdiger Heise, Konzeptkunstler oder theatermacher?, Applause, Oct.
    The Power 100, Art Review, November.
    Kathryn Shattuck, Shining a Light on a Movement that Maybe Isn’t, New York Times, Oct 26.
    Roberta Smith, Museum as Romantic Comedy, New York Times, Oct 31.
    Ours, Azure, October.
    Declan Long, Distant Relations, Art Review, November.
    Exercise in Utility, T Magazine, New York Times, Nov 9.
    Jerry Saltz, Night at the Museum, New York Magazine, Nov 10.
    Holger Liebs, Gerpinkelt wird bei den Briten, Suddeutsche Zeitung, Nov. 14.
    Alexander Kluy, Unser Mann für Venedig: Liam Gillicks ideen, Die Welt, Nov 13.
    Cornelia Gockel, Liam Gillick, Kunstforum, Nov/Dec.

  • 2007

    Carol Vogel, Independence at the Hammer, New York Times, Jan 19.
    Alice Rawsthorn, The designer Newson teams up with Gagosian Gallery, International Herald Tribune, Jan 19.
    Luca Martinazzoli, Collateral: Interview with Andreas Angelidakis, Yoox, January 29.
    Fleur Britten, Magazines in Motion, International Herald Tribune, Feb 12.
    John Slyce, All Hawaii Entrees/Lunar Reggae, Art Monthy, Feb.
    Carol Vogel, Ablaze in swirls of amber grain, New York Times, March 16.
    Clare Carolin, Letter from London and Dublin, The Brooklyn Rail, March.
    Jörn Ebner, Farbwerke Superstaat, Frankfurter Allgemeine, April 5.
    Jennifer Allen, Cologne’s European Kunsthalle Taking Shape, Artforum, April.
    Yoann Van Parys, Passage à l’acte, Flux News 43.
    Marc Holthof, Liam Gillick, H-Art, May.
    Jennifer Allen, Room with an Overview, Frieze, May.
    Charlotte Cripps, Surf’s up eat at the Tate, The Independent, May 17.
    JJ Charlesworth, Critics’ Choice: Memorial to the Iraq War, Time Out London, June 1.
    Christine Lindey, Iraq War: A Vital Theme, Morning Star, June 4.
    Jerry Salz, Ugh, Venice, New York Magazine, July 2.
    Adrian Searle, Il Tempo del Postino, The Guardian, July 14.
    Tim Adams, Il Tempo del Postino, The Observer, July 15.
    Richard Dorment, Il Tempo del Postino, The Daily Telegraph, July 17.
    Marcus Verhagen, Conceptual Perspex, New Left Review, July/Aug.
    Il Tempo del Postino, Art Review, September.
    Zoe Christodoulides, Art Explosion, Cyprus Mail, July 14.
    Philippe Rénier, L’art transforme la ville, Le Journal des Arts, Nov.
    Aimar Arriola, Liam Gillick, Mugalari 451, Bilbao.
    Marcus Miessen, Constructed Criticality, Build, issue 6, 2007

  • 2006

    Sally O’Rielly, Kiosk, Time Out London, Jan 11.
    Emmanuelle Lequeux, Strictement Confidentiel, beaux-arts magazine, Jan.
    P.S., Confidences immatérielles, Vassivière – Marseille, Connaissance des arts, Jan.
    Marie de Brugerolle, McNamara Motel, Flash Art, Jan-Feb.
    Driving Practice; John Slyce in conversation with Liam Gillick, Interviu, January.
    Neringa Cerniauskaité, Modernizmo Superzvaigzdé, Meno Dienos, Jan 6.
    Simon Rees, Supernova: kita didziojo britu sprogimo teorija, Siaures Atenai, Jan 21.
    Kathi Hofer, A Person alone in a Room with Coca-Cola-Coloured Walls, Springerin, February.
    Multicolor, Neo 2, March.
    Michael Glover, Best of British Lights up the Tate, The Times, Feb 25.
    Adrian Searle, Foot Fetish, The Guardian, April 3.
    Ken Johnson, Charting degrees of separation and connection in the art world, New York Times, April 7.
    Peter Bollen, Artists in Residence, New York Times, April 16.
    Julia Chaplin, Art Blooms in the California Desert, New York Times, April 21.
    David Barrett, Tate Triennale, Art Monthly, May.
    Martha Schwendener, Grey Flags, Artforum, May 30.
    Art What’s in a Name?, The New Yorker, June 12.
    Jerry Saltz, The Sublime is Us, Village Voice, June 29.
    Andrea Scott, Occluded front, Time Out New York, June 1 – 7.
    Roberta Smith, Grey Flags, New York Times, July 14.
    Hans Ulrich Obrist, A community of solitary souls, Domus, May.
    Dan Fox, Thankyou for the music: London Beat, Frieze.
    Elwyn Palmerton, Grey Flags; The Sculpture Center, Frieze.
    Aiden Dunne, A playful style of innovation, Irish Times, Nov. 22.

  • 2005

    Elna Svenle, Konstnärliga regelbrott, Kristianstadtsbladet, Jan 10.
    Claire Moulène, Tête chercheuse, Les Inrockuptibles, January
    Nicole Duault, Les paillettes de l’utopiste Liam Gillick, Le Journal du Dimanche, Jan 30.
    Various authors, Emploi travaïe!, Libération, Jan 31.
    Benjamin Thorel, Never mind the Gillick, Art 21, Jan-Feb.
    Exit Express, Liam Gillick, Feb.
    Claire Bishop, Antagonism and Relational Aesthetics, October 110.
    Gatsby le Mexican, Libération, Feb 1.
    Élisabeth Lebovici, Liam Gillick; Économie parallèle, Liberation, Feb 17.
    Mary Louise Schumacher, Artist finds the right words for museum installation, Milwaukee Sentinel Journal, Feb 24.
    Liam Gillick, Exit, February.
    Vincent Pécoil, Une histoire à l’envers (a reverse story), 02, No. 32.
    Charles Barachon, Volvo, pour la vie, Technikart, February.
    Jennifer Allen, Briannnnnn & Ferryyyyyy, Artforum, February.
    Philippe Dagen, Liam Gillick ou les limites de l’engagement politique en art, Le Monde, Feb 24.
    E. Sennewald, Von der Utopie zur Positionierung, Kunst Bulletin, Mar 1.
    Nigel Coates, There’s no Place Like The Home Office, Independent on Sunday, March 6.
    Hugh Pearman, The Government Building that Isn’t, The Times, Feb 20.
    Philippe Dagan, Liam Gillick ou les limites de l’engagement politique en art, Le Monde, Feb 24.
    Bénédicte Ramade, Gillick: preparer la visite, L’Oeil, March.
    Liam Gillick Sean Dack, Pi Magazine, March.
    Eldon Chim, Liam Gillick Sean Dack, Zipmagazine, March.
    Workshop, Chinese Esquire, March.
    Lottie Moggach, Art Buying for Beginners, Financial Times, March 13.
    Dior Homme, Ming Pao Weekly, March 12.
    The Home Office, The Independent, March 16.
    A.B., Supernova Anglia, Gazeta Wyborcza, April 28.
    Tracey Fugami, Liam Gillick, Art Papers, March/April.
    Kenneth Powell, Home Office Comforts, Architects Journal, March 10.
    Elisabeth Kley, Goodbye 14th Street, Art News, May.
    Alex Coles, Liam Gillick and the Kenneth Noland Scenario, Parachute, 4/5/6 2005.
    Mark Owens, Liam Gillick, The Blowup Magazine, No. 3.
    Mary Louise Schumacher, Art for my President, Milwaukee Sentinel Journal, May 18.
    Michael Gibbs, Populism, Art Monthly, June.
    Todd Meyers, Liam Gillick, ArtUS, May/June.
    Ken Johnson, Everywhere’s the same: Nowhere in particular, New York Times, June 2.
    Alex Farquharson, Is the Pen Still Mightier, Frieze, 92.
    Sophie Elmhirst, Architecture as Background, Guardian Public, May.
    The Picture Page, The Buffalo News, June 16.
    Treier, Heie, Kôrgmodernism Kolmkümmend aastat hiljem, Areen, Aug 15.
    Porri, Annell, Briti loogika, Weekly cultural magazine Sirp, Sept 9.
    Mariano Mayer, Liam Gillick, Neo, September
    J.L. Garcia Gomez, Liam Gillick, Málaga Hoy, Sept 17.
    J. Zotano, Reflexiones Apalabradas, La Opinión de Málaga, Sept 17.
    Marina Polonio, Juego en el CAC Málaga, Sur, Sept 17.
    Liam Gillick and Video Sessions at the Centro de Arte Contemporáneo, Tnews, Essential, Sept.
    Malaga, The Art Newspaper, Num. 161, September 2005, p. 13.
    Exposiciones en el Centro de Arte Contemporáneo de Málaga (CAC), Malaga y Málaga, September, 2005.
    Malaga, El Giraldillo, Sevilla, Num. 259, p. 64.
    Javier Hontoria, Liam Gillick, Ferias y bienales libranuna batalla ideologica, El Cultural, Madrid, Oct 20.
    Liam Gillick, AKTvelle, Málaga, Num. 222, Oct.
    J.P., Liam Gillick, Arte y Parte, Santander, Num. 59, Oct – Nov.
    Málaga, CitizenK España, Madrid, Num. 3, Oct.
    Pepe Bárcenas, Vale ás una imagen que mil palabras? Absolute Málaga, Málaga, Num. 15, Nov.
    Liam Gillick, Casa Viva, Barcelona, Num 102, Nov.
    Francisco Flores, El CAC apuesta por Gillick, Piensa y Los Carpinteros para la agenda otoñal, Diario Málaga, Viernes, Aug 5.
    A.J. Avilés Zugasti, Arte para empezar el otoño, Málaga hoy, Miércoles, Aug.
    Liam Gillick diseña obras de texto para el CAC, Málagativa, Sept.
    Liam Gillick, Plástica, Viernes, Sept 9.
    M.D.M., Liam Gillick trae al Centro de Arte Contemporáneo su último trabajo, Diario Málaga, Sept 12.
    Inma Escobar, Liam Gillick llega al CAC con su primera exposición en España, El Mundo, Sept 17.
    Camacho, J.M., Málaga expone la vertiente más conceptual y menos conocida de Gillick, ABC, Sept 17.
    El artista británico Liam Gillick expone en el CAC ‘McNamara Motel, Málaga Hoy, Domingo, Sept 18.
    Beatrice Ehrlich, Der Gedanken freier Lauf, Sur Deutsche Ausgabe, Donnerstag, Sept.
    Enrique Castaños Alés, Más allá de una reflexión sobre el concepto de arte, Vivir la Cultura Arte, Sur, Sept 23.
    Raquel Ruiz, Negro sobre blanco, Tutiplán, Viernes, Sept 23.
    Iván de la torre Amerighi, Saludando a Gillick desde el duro banco, ABCD, Las artes y las letras, Madrid, Sept 24.
    Francisco Calvo Serraller, Gillick analiza los cambios socials en un “proyecto de pensamiento, El Pais, Oct 21.
    Carlos Jimenez, Obreros atrapados, El Pais Sabado, Nov 12.
    Javier Hontoria, Liam Gillick, El Cultural, Oct 20.
    Liam Gillick, How has art changed survey, Frieze, 94.
    Stéphanie Moisdon, Blacklisted, Self Service, Fall/Winter.
    Moulène, Claire, Josée et marc Gensollen Inventaire Avant Overture, Zéro duex à Marseille, Automne, p. 8 – 9.
    Exposition strictement confidentielle, l’écho du centre, Vassivière, Nov 21.
    Confidentiel et surtout ouvert à tous, la montagne, Nov 23.
    Bruno Barlier, De nouvelles formes d’expression sur l’île de Vassivière, l’écho du centre, Dec 1.
    Jessica Lack, Kiosk: Modes of Multiplication/Liam Gillick: Edgar Schmitz, The Guardian, Dec 24.
    Roberta Smith, Liam Gillick, New York Times, Dec 9.
    Paul McCann, Join a Swish Bank, Wallpaper, Dec-Jan.
    Jesus Miguel Marcos, Liam Gillick pensando el arte, El Mundo, Nov 15.

  • 2004

    Nicholas Serota, Journey into Space, The Guardian, January 17.
    Ronald Jones, Adorno: The possibility of the Impossible, Artforum, January.
    Les 30 Artistes de L’Année, Beaux Arts, Jan.
    Alicia Miller, Interview with Liam Gillick, Sculpture, Vol. 23, No. 1.
    Abel H. Pozuelo, Liam Gillick, El Cultural, Feb 26.
    Britta Scholze, Unerwartete Begegnungen Die Ausstellung Adorno Die Möglichkeit des Unmöglichen, im Frankfurter Kunstverein, Texte zur Kunst, No. 53, March.
    Gregory Elgstrand, Liam Gillick, Canadian Art, Spring.
    Michael Kimmelman, How not much is a whole world, New York Times, April 2.
    Randy Kennedy, Minimalist oases in a bustling manhattan, New York Times, April 23.
    Max Henry, Durable Goods, Mysterious & Brutal, The New York Sun, April 8.
    Charles Barachon, Liam Gillick, Technikart, May.
    Joseph Masheck, Minimalism: NY, Art Monthly, June.
    Christophe Cherix, Interview, Afterart News, No.2, Summer.
    Charlotte Higgins, Reprieve for Lost avant-garde masterpiece, The Guardian, August 21.
    New York, Self Service, September.
    Claire Bishop. Antagonism and Relational Aesthetics, October, 110, Fall.
    Jerome Lefevre, Superposition, Archistorm, 09, Sept-Oct.
    Carolina Söderholm, Gåtfull lek med katt och råtta, Sydsvenska Dagbladet, Nov 30.
    Yoam Gourmel, Liam Gillick, Citizen K, December.
    The Bulgari Art Conversations, The Art Newspaper, Dec 3.
    Boel Gerell, Konstnärsfylla, Kvälls Posten, Dec 4.
    Britte Montigny, Konsten tänjer på gränserna, Skånska Dagbladet, Dec 10.
    Therese Marklund, Krävande katt-och råttalek prövar tålamodet, SvD, Dec 11.
    Pontus Kyander, Vitigast 2004, Sydsvenskan, Dec 19.
    Ulrike Stahre, Vi hejar alltid på rattan, Aftonbladet, Dec 28.
    Very New Art, Tokyo, 4/2005

  • 2003

    Philip Nobel, Sign of the Times, Artforum, Jan.
    Ill Communication, Big Issue Scotland, Jan 16.
    Knut Ebeling, Bauen, Wohnen, Denken, Der Tagesspiegel, Jan 18.
    Edgar Schmitz, Interview with Liam Gillick, Kunstforum, Jan.
    Laura Grant, Communication…, Press and Journal, Jan 25.
    John Calcutt, Ill Communication, The Guardian, Jan 29.
    Duncan MacMillan, Pop Goes the Visual, The Scotsman, Jan 28.
    Andrew Hunt, The Unique Phenomenon of a Distance, Issue 72.
    Amber Cowan, Ill Communication, The Times, Feb 1.
    Sebastian Preuss, Design mit Inhalt, Berliner Zeitung, Feb 19.
    Corinna Daniels, Liam Gillick, Die Welt, Feb 21.
    Corinna Daniels, Zeitlose Wiederholungen bei Atle Gerhardsen, Die Welt, Feb 21.
    Brigitte Werneburg, Der Meister der Korrektiven Geste, Taz, Feb 22.
    Adrian Searle, This is a stick up, The Guardian, Feb 25.
    Annlee You Proposes (cover), Contemporary, Issue 47/48.
    Niru Ratnam, Hang it All, The Observer, March 9.
    Dal post-moderno ai neo-moderni, Vernissage, March.
    Gillian Lamb, Private Viewing, Self Service, Spring/Summer.
    Martin Herbert, Days like These, Art Monthly, April.
    Alison Green, Utopias and Universals, Art Monthly, April.
    Vincent Pécoil, Brand Art, Art Monthly, April.
    Franco Fanelli, Moderni si…, Il Giornale dell’Arte, April.
    Edgar Alejandro Hernández, Sostien diálogo creativo, Reforma, April 3.
    Maria Louisa Lopez, Diálogo plástico entre México e Inglaterra, Milenio, April 4.
    Renato Barill, Come sono “antichi” questi Moderni, l’Unita, April 5.
    Cloe Piccoli, Contemporanei, no moderni, La Repubblica, April 5.
    Gabriella Serusi, I Moderni, Segno, March-June.
    Roberto Bosco, Quiénes son los modernos?, El Pais, May 3.
    Luca Beatrice, I Moderni, Flash Art Italia, June July.
    Robert Brown, The Shape Shifter, Art Review, April.
    Bar Americas, el Tiempo Celeste, Spring.
    F. Samaniego, 25 artistas internacionales formarán el mayor proyecto de escultura pública, El Pais, April 26.
    Tony Godfrey, This Was Tomorrow, Burlington Magazine, May.
    Bénédicte Ramade, Question de modernité, L’oeil.
    Andrew Renton, How London took a Big Bite…, Evening Standard, May 13.
    Joël de Rosnay, L’entretien, L’express, May 15.
    Lorenza Pignatti, The art of noise, Kult, June.
    Birgit Sonna, Die Farb-Forscher, Sud Deutsche Zeitung, June 12.
    Margaret Sundell, Exterior Days, Time Out New York, June 19-26.
    Sarah Milroy, A Mighty Brain Stretch, Globe and Mail, Toronto, September 25.
    Alex Farquharson, I curate, You curate, We curate, Art Monthly, September.
    Alex Farquharson, Curator and Artist, Art Monthly, October.
    Rose Aiden, Brush with Fame, The Observer, October 12.
    Marc Peschke, Die Schwierigkeit, nein zu sagen, Plan F, October 23 – 29.
    Birgit Sonna, Alles, was der Fall war, Suddeutsche Zeitung, October 13.
    Karin Lorch, Adorno, Springerin, Winter.
    Jan Verwoert, Waarom Alleen Schilderkunst, Metropolis M, No. 5.
    Mark Wilsher, Wittgenstein: Family Likeness, Art Monthly, Dec-Jan, No. 272.
    Hal Foster, Arty Party, London Review of Books, Dec 4.
    Martin Herbert, Liam Gillick and Sean Dack, Time Out, Dec 3-10.
    Michael Meredith, Liam Gillick: The Power Plant, Artforum, December.
    Jessica Morgan, Tirana, Tate Magazine, Nov/Dec.

  • 2002

    Strategies Against Architecture, Collezioni Edge, Winter/Spring.
    Kristine Drakeer, Kunst som merkevare, Dagens Naeringsliv, January 7.
    Edgar Schmitz, Liam Gillick: Annlee You Proposes, Kunstforum, Jan-March.
    Roberta Smith, The Armory Show, Grown Up and in Love with Color, New York Times, Feb 22.
    Annlee et ses vies, Kunst-Bulletin, No. 4.
    Elizabeth Mahoney, Sea of Dreams, The Guardian, Feb 22.
    Sue Arnold, Tusa Raises my Highbrows, The Observer, March 10.
    Philippe Dagen, L’Urgent Painting, avec précipitation, Le Monde, Jan 25.
    Richard Leydier, Urgent Painting, Art Press, Mars.
    Angela Vettese, Oltre lo steccato della pittura si o pittura no, Il Sole, Feb 3.
    Skulptur als Diskursraum, Der Kurier, Mar 27.
    Dark Spring, Der Standart, Mar 22.
    Claudia Ihlefeld, Der trügerische Glanz von Gewalt im Alltag, Heilbronner Stimme, April 4.
    Reto Kreuger, In Kraichtal stört Lee Karls Ruhe, Badische Neueste Nachrichten, April 3.
    Cornelia Gockel, Frühling lässt sein schwarzes Tuch, Süddeutsche Zeitung, Mar 19.
    Dunkler Frühling, Stuttgarter Zeitung, April 3.
    Petra Mostbach, Nichts ist Unmöglich, Lift, April 4.
    Martin Herbert, Liam Gillick, Art Review, May.
    Jan Estep, Negotiating the Built World, New Art Examiner, May-June.
    Liam Gillick/ Hélio Oiticica, Tema Celeste, May/June.
    Fisun Güner, If you go down to the woods today, Metro, May 7.
    Andrew Renton, How to behave in a gallery, Evening Standard, April 30.
    Sean O’Hagan, This is not an art gallery, The Observer, May 4.
    John Russell Taylor, Wrapped up in celluloid, The Times, May 8.
    Nick Hackworth, Will yoga and a little Plexiglas add up to a Turner?, Evening Standard, May 9.
    Adrian Searle, Road to Nowhere, The Guardian, May 14.
    Martin Gayford, I’m sorry, I haven’t got clue, The Daily Telegraph, May 15.
    Rachel Campbell-Johnston, Liam Gillick and Hélio Oiticica, The Times, 18 May.
    Mark Harris, Liam Gillick/ Hélio Oiticica, Art Monthly, June.
    Liam Gillick, Literally No Place, Tank, Vol 3, No. 2.
    Melanie Klier, Lesen im Meer der Liebe, Münchner Merkur, August 6.
    Mike Dawson, Liam Gillick, Flux, Aug/Sept.
    Alex Farquharson, Near Favorite, Artforum, Sept.
    Duncan McLaren, The Artist as Builder, Contemporary, Sept.
    Dustin Ericksen, 100 Reviews, Contemporary, Sept.
    Edgar Schmitz, Hintergrund ist Überall, Texte zur Kunst, Sept.
    Catherine Wood, Inframince, Art Text, October.
    Beaty Coleman, Hot Florida Style, InCircle Entrée, Fall.
    Caoimhin Mac Giolla Leith, Liam Gillick, Artforum, October.
    Literally No Place, Tema Celeste, Sept-Oct.
    Sarah Lyall, Art Show Asks for it, and the Vox Populi Hollers, New York Times, Nov 8.
    Luis Carlos Emerich, Thisplay, Novedades, Nov 22.
    Germaine Gomez Haro, La Colección Jumex, La Jornada Semana, Nov 24.
    Various press on The Turner Prize

  • 2001

    Maria Bonacossa, Liam Gillick, Tema Celeste, January.
    Roy Exley, Liam Gillick, Art Press, January.
    Andris Grinbergs, Musdienu Utopija, Sestdiena, Jan 6.
    Spekulative Architektur – Liam Gillick, Neue Zürchner Zeitung, January 31.
    Color Ordenado, El Periodico del Arte, February.
    Michael Archer, Liam Gillick, Artforum, March.
    Liam Gillick, Galeria Antiquaria, March.
    Jose Luis Loarce, Liam Gillick, Lapiz, No. 171, March.
    Javier Hontoria, Liam Gillick, El Mundo-El Cultural, March 14.
    Anda Busevica, Divi no trisdesmit diviem, Diuc, March 23.
    Liam Gillick, Arte y Parte, March, No. 31.
    Ieva Rupenheite, Latvijas robeza ar Zabriski, Diuc, March 31.
    Christophe Domino, Liam Gillick, France Culture, April.
    Elizabeth Kley, Liam Gillick, Art News, April.
    Dan Fox, Fig 1, Frieze, April.
    Musdienu Utopija, Studija, April/May.
    Maira Admine, 46 dienas Riga figures musdienu utopija, Dienar Bizaess, April 5.
    Ieva Kalnina, Ieraudzit musdienu utopiju, Jauna Anuze, April 5.
    Paul Clark, Liam Gillick, Evening Standard, April 17.
    Janis Borgs, Kede gulaszupa, Diena, April 17.
    Adrian Searle, Empty Promises, The Guardian, April 24.
    Andrea Carrasco, Exhibition in a Box, April 25.
    Aeneas Bonner, Quantum murals on Ormeau Road, Irish News, April 28.
    David Bussel, Liam Gillick, ID, May.
    Louisa Buck, London, The Art Newspaper, May.
    Matin Durrani, Belfast Confused by Mystery Questions, Physics World, June.
    Sassa Trülzsch, Der Gerissene Faden: Rhizom, Kunstforum, June/July.
    Anjana Ahuja, Try to answer that, mate, The Times, June 4.
    Dominic Eichler, Berlin Biennale 2, Frieze, issue 61.
    Jan Wilhelm Poels, Art Works, Frame, July-Aug.
    Dave Beech, The Communications Department, Art Monthly, issue 249, Sept.
    Stephen Bury, A Timely Place, Art Monthly, issue 249, Sept.
    Annie Fletcher, Verwarring als Primaire Conditie, Metropolis M, Aug-Sept.
    Fisun Günar, Building Concepts, What’s On, Sept 5 to Sept 12.
    Netzwek als Schräges Kunstwerk, Kurier, Sept. 18.
    Doris Krump, Freejazz in der Grauzone, Der Standard, September 26,
    Johanna Hofleitner, Diskursorientiert, Die Presse, October 5.
    Ernst P. Strobl, Es Grünt so grün under der Sonne, Salzburger Volkszeitung, October 18.
    A Question. Answers from: Frieze, November – December.
    Raumgefühl, Salzburger Natchrichten, Salzburg.
    Jonas Ekeberg, Bokstavelig talt superkult, Dagens Naeringsliv, Oslo, November 3.
    Lena Lindgren, Skriften på veggen, Dagens Naeringsliv, November 23.
    Arve Rød, Samvittighetens Mellomrom, Billedkunst, No.6, December.
    Auf Schrägem Boden, Neue Kronen Zeitung, Salzburg, November 23.
    Karin Pernegger, Dedalic Convention, Camera Austria, No. 76.
    Jonas Ekeberg, Farvel Utsmykking, Dagens Naeringsliv, December 31.

  • 2000

    A Colourful Century, Vogue Italia, January.
    Ann Donald, Real things from a virtual world, Glasgow Herald, Feb 28.
    Alex Hetherington, Continuum 001, The List, Feb 17.
    Elizabeth Mahoney, Terribly PC, Scotland on Sunday, Feb 20.
    Elizabeth Mahoney, Brief encounters with the shape of things to come, The Scotsman, Feb 23.
    Sarah Lowndes, Continuum 001, Metro, Feb 25.
    Michael Hauffen, Liam Gillick: Consultation Filter, Springerin, 2/00.
    Jonathan Jones, Liam Gillick, The Guardian, March 7.
    Samantha Ellis, Pain in a building, Evening Standard, March 6.
    Jörg Heiser, Disco/Discontent, Frieze, March.
    Michael Wilson, Applied Complex Screen, Art Monthly, March.
    Milou Allerholm, Form vävs ihop med politik, Dagens Nyheter, March 21.
    Petra Noppeney, Mysteriöse Multiplexplatten, Westfälischer Nachrichten, March 25.
    Liam Gillick, Achtung, diese Stadt wird Normal, Frankfurter Allgemeine Zeitung, March 27th.
    Manuel Jennen, Ein Pferd ist ein Pferd ist ein Pferd, Munster Zeitung, March 25th.
    Marcus Lütkemeyer, Ratespiel aus Kunststoff, Munster.
    Beate Naß, Plexiglas in der Decke, Munster.
    Nina Mehta, Continuum 001, Art Monthly, 235, April.
    What If?, Contemporary Visual Arts, Issue 28.
    Nicolas Siepen, Der Kern zerstreut sich, Frankfurter Allgemeine Zeitung, April 3.
    François Hers, L’aventure, des nouveaux commanditaires, Beaux Arts, April.
    Daniel Birnbaum, What If?, preview, Artforum, May.
    Robert Garnett, Sheep and Goats, postcard from Paris, Art Monthly, 236, May.
    Adrian Searle, Life Through a Lense, The Guardian, May 4.
    Ingeborg Cienfuegos, Konst pâ gränsen, Aftonbladet, May 5.
    Erika Josefsson, Konstnärer tar för sig av Arkitektur och Design, Metro Stockholm, May 6.
    Gilda Williams, Because a fire was in my head, South London Gallery, Art Monthly, 235, May.
    Clemens Poellinger, Shopping som konst, Svenska Dagbladet, May 8.
    Milou Allerholm, Rum med Samplade Känslor, Dagens Nyheter, May 13.
    Hans Hedberg, Estetiskt vaktombyte utan udd, Svenska Dagbladet, May 13.
    Peter Cornell, Sköna hem pâ Moderna, Expressen, May 13.
    Lars Vikström, Utställning med alltför fâ Tanker, Arbetet Ny Tid, May 21.
    Crispin Ahlström, Tänk Om Är Ingen Fullträff, Göteborgs Posten, May 29.
    Ronal Berg, Demokratie aus dem Computer, Zitty Magazine, 7/2000.
    Adrian Searle, Thick and Thin, The Guardian, July 8.
    Johan Schloemann, Bau Mir einen Schuhladen, Frankfurter Allgemeine Zeitung, July 24.
    Egna Tolkningar, En Svalt Sofistikerad Uppvisning, Norrländska Socialdemokraten, Aug 2.
    Thomas Olsson, Moderna Museet Tänker Om, Ystads Allehanda, August 5.
    Charlotte Bydler, Man Känner sig Nästan Läcker, Aftonbladet, August 5.
    Thomas Olsson, Moderna Museet Tänker Om, Bohusläningen med Dals Dagblad, August 5.
    Alison Green, Future Perfect, Art Monthly, 239, September.
    Marianne Silen, Konst, Arkitektur och Design, Byggindustrin, September 1.
    Duncan McLaren, Better than Chocolate, The Independent on Sunday, September 5.
    Gordon Burn, Art imitating Death, The Guardian, Sept 17.
    Michael Wilson, New British Art: Intelligence, Art Monthly, 239, September.
    Rachel Withers, Preview, Artforum, September.
    Liam Gillick, Architect Builder Contractor and Developer, September.
    Amber Cowan, Liam Gillick, The Times, October 7.
    Anna Gunnert, Tänk Om pa Moderna Museet, Konsttidningen, October 9.
    Liam Gillick, Vogue (British), October.
    Ina Blom, What If?, Frieze, 54.
    Liam Gillick, Wallpaper, October.
    Liam Gillick, Artclub Magazine, Autumn.
    Liam Gillick, AN Magazine, November.
    Rachel Campbell Johnston, Five Best Exhibitions Nationwide, The Times, Nov 4.
    Andrew Mead, Called into Question, The Architects Journal, November 8.
    Liam Gillick, Flux, October/November.
    David Musgrave, Liam Gillick, Art Monthly, 241, November.
    Amelia Bate, Liam Gillick, Epigram, November.
    John Tremblay, Top Ten, Artforum, November.
    Liam Gillick, Tatler, November.
    Charlotte Evans, Brum sees the best in British art, Sutton Coldfield Observer, Nov 24.
    Dean Inkster, Défence de la Lecture, Le Procès de Pol Pot, Art Press, Special No.21.
    Jennifer Higgie, Future Perfect, Frieze, Issue 55.
    David Vincent, Part of a bigger picture, Wolverhampton Express and Star, Dec 2.
    Michael Wilson, Liam Gillick, Untitled, Dec.
    Nigel Prince, Future Perfect, Untitled, Dec.
    Neil Mulholland & David Musgrave, Intelligence, Untitled, Dec.
    Daniel Birnbaum, What If?, Artforum, Dec.
    Liam Gillick Voice Choices, Village Voice, December 1.
    Ken Johnson, Liam Gillick, New York Times, December 8.
    Tony Godfrey, Liam Gillick, Burlington Magazine, December.
    Max Andrews, Liam Gillick, Contemporary Visual Arts, Issue 32.
    Ingela Lind, Konst i Krock med Kommersen, Dagens Nyheter, December 26, 1999 Salon 3, Flash Art, Jan/Feb.
    Heinz Schütz, Steirischer Herbst ‘98, Kunstforum, Jan/Feb, No. 143.
    Holland Cotter, Changes Aside, New York Times, February 12.
    Roberta Smith, Continued Investigation of the Relevance of Abstraction, New York Times, Feb 12.
    Catsou Roberts, Ouveture de Salon 3, Art Press, No. 243, Feb.
    Thomas Wolff, Na Logo, Frankfurter Rundschau, March 31st.
    Sue Spaid, Conceptual Art as Neurobiological Praxis, Village Voice, April.
    Andrea K. Scott, Conceptual Art as Neurobiological Praxis, Time Out, New York, April.
    Andreas Denk, Nur Wasser Läßt sich Leichter Schneiden, Kunstforum, May/June.
    Silke Hohmann, Transparenz als Prinzip, Journal Frankfurt, June.
    Ronald Jones, A continuing investigation into the relevance of abstraction, Frieze, Issue 47, Summer.
    Brita Polzer, Kunst, Annabelle, June.
    Radio DRS 2, Interview with Liam Gillick, June 29.
    Claudia Kock Marti, Viereck und Kosmos, Die Südostschweiz/Glarner Nachrichten, July 2.
    Edith Krebs, Er is ein Jongleur, Zurich Tages Anzeiger, July 3.
    Liam Gillick, Neue Zürchner Zeitung, July 9.
    Martin Engler, Verspätetes Millennium, Frankfurter Allgemeine, July 21.
    Jonathan Jones, In the Midst of Things, The Guardian, August 3.
    Daniel Kurjako, Szenarien zwischen Gestern und Morgen, August 5.
    Eva Grundl, Erklärt Kunst die Welt, Sudkurier, August 12.
    In the Midst of Things, The Big Issue, August 16.
    Elisabeth Wetterwald, XN, Parachute, July/Aug/Sept. No. 95.
    Duncan McLaren, Better Than Chocolate, The Independent on Sunday, Sept 5.
    In Richtung Buchmesse, Hanover Anzeiger, Sept 9.
    Gabriele Nicol, Kubricks London zeigt seine karge Trostlosigkeit, Offenbach-Post, Sept 17.
    Kubrick in Himmel, AZ Mainz, Sept 18.
    Nikolaus Jungwirth, Erzengel Spielberg, Gott Kubrick und eine blutige Maria, Frankfurter Allegemeine, Sept 21.
    Christian Huther, Wenn der liebe Gott glaubt, er sei Kubrick, Mainz Echo, Sept 23.
    Christian Huther, Raumfantasien rund um Stanley Kubricks Filme, Frankfurter Morgenpost, Sept 23.
    Liam Gillick macht alles selbst, Rhein-Zeitung, Oct 6th.
    Liam Gillick, Sud deutsche Zeitung.
    Asprey/Jacques Documentary, Channel 4.
    Britische Kunst wie fürs Wohnzimmer, Focus, 25 Oct.
    Michael Hierholzer, Ein Gerüst für die Stoffe der Phantasie, Frankfurter Allgemein, Nov 3rd.
    What is art today?, Beaux Arts Magazine, Dec.

  • 1998

    Susanne Gaensheimer, In Search of Discussion Island – About the Book Big Conference Centre, by Liam Gillick, Index, No.22, February.
    Karl Holmquist, Hospital, Flash Art, March/April.
    Jade Lindgaard, Le Plexiglas Philosophical, Le Monde/Les Inrockuptibles, 6th to 12 May.
    David Musgrave, A to Z, Art Monthly, May.
    Jade Lingaard, Le Plexiglas philosophal, Aden, May 6-12.
    Jorn Ebner, Dickes Make-up, dünnhäutige Kunst, Frankfurter Allgemeine, 11th July.
    Laura Moffatt, Liam Gillick, Art Monthly, July/Aug.
    Inglenook, Village Voice, 21st July.
    Ken Johnson, Inglenook, New York Times, 24th July.
    Eric Troncy, Liam Gillick/Villa Arson, Les Inrockruptiples, Summer.
    Christoph Blase, Liam Gillick, Blitz Review.
    Christian Huther, Agiler Krisenmanager, Main-Echo, Sept 9th.
    Christian Huther, Der Krisenmanager, Der Tagesspeigel, Sept 9th.
    Paul Cassirer Kunstpreis, Berlin, Morgenpost, Sept 30th.
    Paul Cassirer Kunstpreis, various press
    Morning Edition, NPR, New York, October 3rd.
    Kerstin Braun, Wie bildende Kunst Theater reflektiert, Neue Zeit, Oct 9.
    Anders Eiebakke & Bjønnulv Evenrud, Liam Gillick, Natt & Dag, Dec/Jan.
    Berit Slattum, Kommuniserende britisk samtidskunst, Klassekampen, Dec 9.

  • 1997

    Peter de Jonge, The Rubell’s in Miami, Harper’s Bazaar, February.
    Jesse Kornbluth, Is South Beach Big Enough for Two Hotel Kings?, New York Times, 16th Feb.
    Die Zukunft als Künstlerisch-humanes Spielkonzept, Ludwigsburger Kreiszeitung, 22nd Feb.
    Uberliefertes Aufbrechen, Neue Luzerner Zeitung, 12th April.
    Enter – Audience, Artist, Institution, Ausgestellt, Luzern Heute, 12th April.
    Gregory Volk, Liam Gillick at Basilico Fine Arts, Art in America, June.
    Dominique Nahas, I met a man who wasn’t there, Review, July/August.
    Elizabeth Mangini, I met a man who wasn’t there, The Exhibitionist, Aug/Sept.
    Zeigam Azizov, Liam Gillick and his Parallel Activities, Omnibus, October.
    Nadine Gayet-Descendre, Nouvelle vie pour PS1, L’Oeil, No. 490, November.
    Ann Doran, School’s In, Time Out New York, 6th to 13th November.
    Marc-Olivier Wahler, Habiter un lieu d’art, Kunst-Bulletin, December.
    Eric Troncy, We’re people this dumb before television: Interview with Liam Gillick, Documents sur l’art, No.11
    Christoph Tannert, Zwischen Hospital und Hotel, Berliner Zeitung, Dec 20th.
    Brigitte Werneburg, The Good Beuys, Taz, Dec 20th.
    Tanja Fielder, Auf dem Pappbett endet Sehnsucht, Morgenpost, Dec 16th.
    Schwarzwaldklinik, Ticket, Dec 11th

  • 1996

    Iain Gale/Georgina Starr, Where does British Art go from Here?, Independent, 2/1/96
    Neal Brown, Ideal Standard Summertime, Frieze 26, January/February.
    Adrian Dannat, Brilliant, Flash Art, January/February
    Simon Ford, Myth Making, Art Monthly, March, 194.
    Michael Archer, No Politics Please We’re British, Art Monthly, March, 194.
    John Tozer, Co-operators, Art Monthly, March, 194.
    Rainald Schumacher, Liam Gillick, Springer, 1/96.
    Matthew Ritchie, Liam Gillick: Part Three, Performing Arts Journal.
    Georg Schöllhammer, Kuratiert von:, Springer, March.
    Brigitte Werneburg, Das Virus Heißt Political Correctness, Taz, 9/10 March.
    Barbara Steiner, If…If…If… a lot of possibilities, Paletten, No. 223.
    Philippe Parreno, McNamara – A film by Liam Gillick, Paletten, No. 223.
    Andreas Spiegl, Traffic – CAPC, Art Press, No. 212, April.
    Hans Knoll, Parallelwelten und frottierte Schilde, Der Standard, 18 April.
    Johanna Hofleitner, Augestellt in Wien, Die Presse, 19 April.
    Liam Gillick, Der Standard, 2 May.
    Lynne McRitchie, Brilliant, Art in America, May.
    Simon Ford, Der Mythos vom Young British Artist, Texte zur Kunst, No. 22, May.
    Martin Herbert, Liam Gillick, Time Out, May 15 – 22.
    Liam Gillick, The Corruption of Time (Looking Back at Future Art), Flash Art, May/June, No. 188.
    Godfrey Worsdale, Liam Gillick, Art Monthly, June, No. 197.
    Juan Cruz, Some Drawings from London, Art Monthly, July/August, No. 198.
    Lars Bang Larson, Traffic, Flash Art, Summer, No. 189.
    Barbara Steiner, Traffic, Springer, Band II, Heft 2.
    Verena Kuni, Der Umbau-Raum, Springer, Band II, Heft 2.
    Jennifer Higgie, Liam Gillick, Frieze, Issue 30.
    Carl Freedman, Some Drawings From London, Frieze, Issue 30.
    Barbara Steiner, Film as a method of Thinking and Working, Paletten, No. 224.
    Marie de Brugerolle, Renaissance du Magasin, Art Press, October, No. 217.
    Elizabeth Lebovici, Grand déballage d’art britanique, Liberation, 10th Oct.
    Jelka Sutej Adamic, Liam Gillick, Delo, 11th Oct.
    Angela Vettese, Giovani Inglesi Aspettano Godot, Il Sole, 13th Oct.
    Michael Krome, Liam Gillick, Kunstzeitung, No. 3, Nov
    La creme anglasise s’expose à Paris, Le Figaro, 26th Nov.
    Robert Fleck, Die Wahren Helden sind die Väter, Art, December.
    Pierre Restany, New Orientations in Art, Domus.

  • 1995

    Franz Niegelhell, Sammeln und Speichern, PAKT, January.
    Michael Hauffen, Das Archiv, Kunstforum, January.
    Justin Hoffman, Das Archiv, Artis, February-March.
    Zapp Magazine, Möbius Strip, Issue 4.
    Arno Gisinger, Das Archiv, Eikon, April.
    Liam Gillick, The Insitute of Cultural Anxiety, Blueprint.
    Project, (Jake & Dinos Chapman), Art & Text, May.
    Nicolas Bourriaud, Pour une ésthetique relationnelle, Documents, No. 7.
    Sabine Maida, Sur un air de Darwin, Paris Quotidien, May 15.
    Philippe Parreno, Une exposition serait-elle un cinéma sans caméra?, Liberation, May 27.
    Liam Gillick, Kunstlerporträts, Neue Bildende Kunst, June-August.
    Liam Gillick, When Are You Leaving?, Art & Design, May.
    Eric Troncy, Liam Gillick, Flash Art, Summer.
    Sabine Krebber, Romantisch und Verwundbar, Stuttgarter Nachrichten, July 1.
    Forget about the ball and get on with the game, (with Rirkrit Tiravanija), Parkett, 44, Summer.
    Adrian Searle, Karaoke, Time Out, July 26.
    Sarah Kent, Ideal Standard Summertime, Time Out, July 26.
    Philip Sanderson, Ideal Standard Summertime, Art Monthly, September, No.189.
    Erasmus is Late, La Repubblica, September 15.
    Christoph Blase, Ibuka!, Springer, Issue 4.
    Martin Maloney, Grunge Corp, ArtForum, November.
    Jeffrey Kastner, Brilliant?, Art Monthly, Dec/Jan 1995-96.
    Lynn McRitchie, Brilliant, Financial Times.
    Karmel, Liam Gillick, New York Times, December 8.
    Stuart Servetan, Liam Gillick, New York Press, Dec 6 – 18.
    Anne Doran, Part Three, Time Out New York, Dec 13 – 20.
    Matthew Collings, My Brilliant Repartee, Modern Painters, Winter.
    Peter Herbstreuth, Leipzig: Fotografie im Kunstverein Elsterpark, Kunst Bulletin, 12/95.

  • 1994

    Benjamin Weil, Backstage, Flash Art, Jan/Feb.
    Liam Gillick/Ken Lum, Global Art, Flash Art, Jan/Feb.
    Radio Interview, Luzern, February.
    Mark James, Freeze, Omnibus, BBC1, February 22nd.
    Nathalie Bouley, Les Parcours d’illusions…, Le Bien Public, February 23.
    Roland Topor, Surface de Réparations, Art & Aktoer, February, No. 5.
    Nicolas Bourriaud, Au Moment du Penalty, Globe, 9 – 15 February.
    Nicolas Bourriaud, Surface de Réparations, Art Press, No. 190.
    Eric Troncy, Suface de Réperations, Omnibus, June.
    Fritz Billeter, Schnörkel und Schleifchen, Tages-Anzeiger, February 28.
    Arte Guerrero, El Pais, March 14.
    Olga Spiegel, Fotographos de Londres…, La Vanguardia, March 14.
    Christian Besson, Surface de Réperations, Flash Art, May-June.
    Helena Papadopoulos, Don’t Look Now, Flash Art, May-June.
    Simon Grant, World Cup Football Karaoke, Art Monthly, September.
    Paradies Verloren, Die Presse, October 22.
    Verdoppelt, durchleuchtet, Kleine Zeitung (Graz), October 12.
    Brigitte Borchhardt-Birnbaumer, Ein Neues Ausstellungsmodell, Wiener Zietung, October 14.
    Wolfgang Zinggl, Tee Trinken mit Künstlern, Flater, October 28.
    Schipper & Krome, Neue Bildende Kunst, November.
    Mark Currah, Time Out, December.

  • 1993

    Amedeo Martegani, Liam Gillick, Flash Art Italia, January.
    David Lillington, ON, Time Out, Jan 13th.
    Jutta Schenk-Sorge, Zwolf Junge Britische Künstler, Kunstforum, 120.
    Interview with Liam Gillick, Flash Art, January.
    Frederick Ted Castle, Occurances-NY, Art Monthly, February.
    Eric Troncy, Wall Drawings & Murals, Flash Art, May.
    Nicolas Bourriaud, Modelized Politics, Flash Art, Summer.
    David Lillington, True Brit, Time Out, July 28th.
    Ray McKenzie, Views from the Edge, Scottish Photography Bulletin, October.
    Henry Bond and Liam Gillick, The List, July 2nd – 15th.
    James Odling-Smee, Wonderful Life, Art Monthly, October.
    Mat Collings, Art Break, Observer, October 17th.
    Liam Gillick, A Guide to Video Conferencing Systems and the Role of the Building Worker in Relation to the Contemporary Art Exhibition (Backstage), Documents, No.4, October.

  • 1992

    Giacinto di Pietrantonio, Bond & Gillick, Gio’ Marconi, Flash Art Italia, Feb/March.
    Maureen Paley interviewed by David Brittain, Creative Camera, 313.
    Giacinto di Pietrantonio, Bond & Gillick, Gio’ Marconi, Flash Art, April.
    Henry Bond & Liam Gillick, Press Kitsch, Flash Art, July/Aug.
    Eric Troncy, London Calling, Flash Art, July/Aug.
    Giorgio Verzotti, News From Nowhere, Artforum, July/Aug.
    Elizabeth Lebovici, L’art piege a l’anglaise, Liberation, July 7.
    Mark Thomson, Etats Specifique, Art Monthly, July/Aug.
    Robert Pinto, Molteplici Culture, Flash Art, October.
    Francesco Bonami, Twelve British Artists, Flash Art, November.

  • 1991

    Rose Jennings, Documents: Karsten Schubert Ltd, City Limits, February 7-14.
    Michael Archer, Documents: Karsten Schubert Ltd, Artforum, March.
    Ian Jeffrey, Bond & Gillick, Art Monthly, March, 144.
    Clifford Myerson, Documents & Details, Art Monthly, April, 145.
    Liam Gillick, The Placebo Effect, Arts, May.
    Carolyn Christov-Bakargiev, Someone Everywhere, Flash Art, Summer.
    Tim Hilton, Composition with Old Hat, Guardian, August 14.
    Frontlines: No Man’s Time, Artscribe, September.
    Jean Yves Jouannais, Villa Arson, Art Press, issue 162, October.
    Giorgio Verzotti, No Man’s Time, Artforum, November.
    Michael Archer, Audio Arts Issues and Debates I, Audio Arts.
    Andrew Wilson, Technique Anglaise, The Art Newspaper, November.
    Eric Troncy, No Man’s Time, Flash Art, December.
    Meyer Raphael Rubinstein, Technique Anglaise, Arts, November.
    Michael Archer, Technique Anglaise, Artforum, December.
    Peter Schjeldhal, Twelve British Artists, Frieze, Nov/Dec, Issue 7.

Permanent Collections

The Albright Knox Museum, Buffalo, USA
Arts Council Collection, London, UK
Baltimore Museum of Art, Baltimore, USA
British Council Collection, London, UK
Centre Georges Pompidou, Paris, France
Essl Museum of Contemporary Art, Vienna, Austria
FER Collection, Laupheim, Germany
Fondazione Sandretto Re Rebaudengo, Torino, Italy
Fonds Régional d’Art Contemporain (FRAC), France
Le Fonds National d’Art Contemporain (FNAC), France
Foundation Centro de Arte de Salamanca, Salamanca, Spain
Fundación Jumex, Ecatepec, Mexico
Guggenheim Museum, Bilbao, Spain
The Hirshhorn Museum and Sculpture Garden, Washington, D.C., USA
Lenbachhaus Museum, Munich, Germany
Moderna Museet, Stockholm, Sweden
Musée des Beaux Arts et d’archéologie, Besançon, France
Museum der Angewandten Kunst (MAK), Vienna, Austria
The Museum of Contemporary Art, Chicago, USA
The Museum of Modern Art, New York, USA
Museum Sztuki, Lodz, Poland
The Solomon R. Guggenheim Museum, New York, USA
Tate Gallery, London, UK