Liam Gillick
1964

Born in Aylesbury, UK
Lives and works in London and New York.

Education
1984-87
1983-84

Goldsmiths College, University of London, B.A. (Hons.)
Hertfordshire College of Art

Awards
2008
2002
1998

The Vincent Award Nomination, Stedelijk Museum, Amsterdam
Turner Prize Nomination, London
Paul Cassirer Award, Berlin

Selected Solo Exhibitions
2023
Mountains? What Mountains?, Galerie Meyer Kainer, Vienna
Filtered Time, Pergamon Museum, Berlin
2021
Kinetic Energy of Rigid Bodies, Kunst-Station Sankt Peter, Cologne
The Work Life Effect, Gwangju Museum of Art, Korea
Replace Rubens, Sankt Peter, Köln
Four Steps and a Leap, Blanc Art Space D7, Beijing
The Knot of Which I Speak Cannot be Knotted, Gallery Baton, Seoul
2020
Standard Deviations, Alfonso Artiaco, Naples
Convergence, Gwangju Museum of Art, Gwangju
Horseness is the Whatness of Allhorse, TARO NASU, Tokyo
Redaction, Casey Kaplan, New YorkIt should feel like unicorns are about to appear a.k.a. Half Awake Half Asleep, Alfonso Artiaco,
Naples2019
Standing on Top of a Building: Films 2008-2019, Madre Museum, Naples.
The Night of Red and Gold, Maureen Paley, London.
2018
10/2018 There Should be Fresh Springs... Gallery Baton, Seoul
11/2018 Liam Gillick Adam Pendleton Adam Pendleton Liam Gillick, Eva Presenhuber, New York
11/2018 A Depicted Horse is not a Critique of a Horse, Kerlin Gallery, Dublin
2017
EXTENDED SOUNDTRACK FOR A LOST PRODUCTION LINE: TON UND FILM, Galerie Eva
Presenhuber,Zurich
2016
Liam Gillick: Campaign, Serralves Museum of Contemporary Art, Porto
Phantom Structures, Casey Kaplan, New York, NY
Cool Your Jets, with Jonathan Monk, Quartz Studio, Torino
Liam Gillick: What’s What in a Mirror, Dublin City Gallery, Hugh Lane, Dublin
Liam Gillick and Sadie Benning, Air de Paris, Paris
2015
Liam Gillick 1 Rue Gabriel Tarde, Sarlat-La-Caneda, Dordogne, Galerie Micheline Szwajcer,
Brussels
All-Intimate-Act, Stedelijk Museum and Holland Festival, Amsterdam
Alfonso Artiaco, Naples
Liam Gillick: The Thought Style Meets the Thought Collective, Maureen Paley, London
2014
Complete Bin Development, Galerie Hans Mayer, Düsseldorf
Liam Gillick: Revenons Á Nos Moutons, Esther Schipper
From 199C to 199D, Le Magasin, Grenoble
Cross//Roads, with Willie Birch, Hessel Museum of Art, Annandale-on-Hudson
2013
For the doors that are welded shut, Kerlin Gallery, Dublin, July 26, 2013
From Fredensborg to Halen via Loch Ruthven - Courtyard Housing Projections, HICA (Highland
Institute of Contemporary Art), September 1, 2013

Piramide Bldg.4F, 6-6-9 Roppongi Minatoku Tokyo 106-0032 JAPANT +81-(0)3-5786-6900 F +81-(0)3-5786-6902 info@taronasugalley.com www.taronasugallery.com

2012

2011

2010

2009

2008

2007

2006

2005

2004

Margin Time 2 and Laguna Discussion Platform, Austin Museum of Art, September 21, 2013
Five Structures and a Shanty, Gallery IHN, Seoul
NOVEMBER 1 – DECEMBER 21, with Louise Lawler, Casey Kaplan, October 31, 2013
Vertical Disintegration, TARO NASU, Tokyo, November, 2013
From 199A to 199B, Hessel Museum of Art, Bard College, New York
Scorpion or Felix, Galerie Eva Presenhuber, Zurich
Scorpion and und et Felix, Casey Kaplan, New York
Margin Time, Ma1ureen Paley, London
Agreements, McNamara and Lead Times, Taro Nasu, Tokyo
Liam Gillick, Alfonso Artiaco, Naples
Sit in the machine, Air de Paris, Paris
Sit on the machine, Galerie Micheline Szwajcer, Antwerp
A Game of War Structure, Irish Museum of Modern Art, Dublin (site-specific workcommissioned for IMMA)
1848!!!, Esther Schipper, Berlin
One long walk… Two short piers, Kunst- und Ausstellungshalle, Bonn
Seven Structures and a large Vodka Soda..., Kerlin Gallery, Dublin
Everything Good Goes, Meyer Kainer, Vienna
Discussion Bench Platforms/A “Volvo” Bar + Everything Good Goes, Casey Kaplan,
New YorkThree perspectives and a short scenario, Museum of Contemporary Art, Chicago
Executive Two Litre GXL, MAK – Museum für Angewandte Kunst, Vienna
Wall diagrams from the 1990s and early 2000s, House of Art, Cesce Budejovice
How are you going to behave? - A kitchen cat speaks, German Pavillion, La biennale di Venezia –53rd International Art Exhibition, Venice
Two Short Plays, Eastside Projects, Birmingham
Three Perspectives and a Short Scenario, Kunstverein München
Three Perspectives and a Short Scenario, Witte de With, Rotterdam
Three Perspectives and a Short Scenario, Kunsthalle ZürichFractional factories in the snow, Air de Paris, Paris
The State Itself Becomes A Super Whatnot, Casey Kaplan, New YorkThe State/Commune Itself as a Super State/Commune, Galerie Micheline Szwajcer,
Antwerpen
The Commune Itself Becomes A Super State, Corvi-Mora, London
Weekend in So Show, The Lab at Belmar, Lakewood
Monument to Charles Fourier, Musée de Beaux-Arts, Besançon
The State Itself Becomes A Super Commune, Esther Schipper, Berlin
Literally Based On H.Z., Kerlin Gallery, Dublin
Briannnnn & Ferryyyyy (w/ Philippe Parreno), Kunsthalle Zürich, Zürich
We Are Medi(eval) (w/ Angela Bulloch), Cubitt Artists, London
As you approach the edge of town the lights are no softer than they were in thecentre..., Casey Kaplan Gallery, New York
Briannnnn & Ferryyyyy (w/ Philippe Parreno), Vamiali’s, Athens
Texte court sur la possibilité de créer une économie de l'équivalence, La Casa
Encendida, Madrid
McNamara Motel, CAC Centro de Arte Contemporáneo, Malága
Fabriken im Schnee..., Galerie Meyer Kainer, Vienna
Presentism, Corvi-Mora, London
Another 2004 Again, Baltimore Museum Of Art, Baltimore
M/M (Paris), Frankfurter Kunstverein, Frankfurt
Texte court sur la possibilité de creer une economie de l’equivalence, Palais deTokyo, Paris
The Two Hundred and Twenty-Second Floor, Galerie Eva Presenhuber, ZurichÖvningskörning (Driving Practice Parts 1-30), Milwaukee Art Museum, Milwaukee
Construccion de Uno, Galeria Javier Lopez, Madrid
A Group of People, Air de Paris, Paris

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2003

2002
2001

2000

1999
1998

1997

1996

1995

1994

Liam Gillick: Nineteenfortysixxisytrofneetenin, Aspen Art Museum, Aspen
Underground (Fragments of Future Histories), Galerie Micheline Szwajcer, Antwerp(Rider): Law & Creativity (w/ Philippe Parreno), Lunds Konsthall, Lund
Hills and trays and..., Schipper & Krome, Berlin...punctuated everydays, Galerie Max Hetzler, Holzmarktstrasse, Berlin
Por Favor Gracias de Nada (with Gabriel Kuri), Kurimanzutto, México City
Exterior Days, Casey Kaplan, New York
Liam Gillick: Communes, Bars and Greenrooms, The Power Plant, Toronto
Projects 79. Liam Gillick: Literally, MoMA QNS, New York
Liam Gillick, platform art, London Underground, in collaboration with Frieze Art Fair,
LondonA Film, A Clip and a Documentary, (with Sean Dack), Corvi-Mora, London
The Wood Way, Whitechapel Art Gallery, London
Light Technique, Galerie Meyer Kainer, Vienna
Liam Gillick, Galerie Rüdiger Schöttle, MunichFirststepcousinbarprize, Galerie Hauser & Wirth & Presenhuber, Zurich
Liam Gillick, Galeria Javier Lopez, Madrid
Liam Gillick, Corvi-Mora, London
Annlee You Proposes, Tate Britain, London
Dedalic Convention, Museum für Angewandte Kunst, Wien und Salzburger Kunstverein, Salzburg
Applied Complex Screen, Hayward Gallery, London
Liam Gillick, Galleri Charlotte Lund, Stockholm
Liamm Gilllick. Themagazineofthe4thofMarch, Galerie Schipper & Krome, Berlin
Consultation Filter, Westfälischer Kunstverein, Münster
Schmerz in einem Gebäude, Fig 1, London
Woody, CCA Kitakyushu Project Gallery, Kitakyushu (Japan)
Literally No Place, Air de Paris, Paris
Renovation Filter: recent past and near future, Arnolfini, Bristol
Liam Gillick, Casey Kaplan Gallery, New York
Liam Gillick, Kunsthaus Glarus, Glarus.
Liam Gillick, Galerie Rüdiger Schöttle, MunichDavid, Frankfurter Kunstverein, Frankfurt a.M.
Liam Gillick, Kunstverein in Hamburg, Hamburg.
Up on the twenty-second floor, Air de Paris, Paris
When Purity Was Paramount, British Council, Prague
Big Conference Center, Orchard Gallery, Derry
Liam Gillick, Robert Prime, London
Révision: Liam Gillick, Villa Arson, Nice
When do we Need More Tractors? Schipper & Krome, Berlin
The Trial of Pol Pot (with Philippe Parreno), Le Magasin, Grenoble
Liam Gillick, c/o Atle Gerhardsen, Oslo
Discussion Island, Basilico Fine Arts, New York
Discussion Island - A What If? Scenario Report, Kunstverein, Ludwigsburg
A House in Long Island, FORDE, Espace d'art contemporain, L'Usine, Geneva
Another Shop in Tottenham Court Road, Transmission Gallery, London
McNamara Papers, Erasmus and Ibuka! Realisations, The What If? Scenarios,
Le Consortium, Dijon
Reclutamento!, Gallery Emi Fontana, Milan
Erasmus is Late ‘versus’ The What If? Scenario, Schipper & Krome, Berlin
Liam Gillick, Raum Aktueller Kunst, Vienna
The What If? Scenario, Robert Prime, London
Documents (with Henry Bond), Schipper & Krome, Cologne
Ibuka! (Part 1), Air de Paris, Paris
Ibuka! (Part 2), Kuenstlerhaus, Stuttgart
Ibuka! Galerie Emi Fontana, Milan
Part Three, Basilico Fine Arts, New York
Documents (with Henry Bond), Kunstverein Elsterpark, Leipzig
McNamara, Schipper & Krome, Cologne

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1993
1992
1991
1989

Documents, (with Henry Bond), Ars Futura, Zurich
Liam Gillick, Interim Art, London
Documents, (with Henry Bond), CCA Glasgow
An Old Song and a New Drink, (with Angela Bulloch), Air de Paris, Paris
McNamara, Hog Bikes and GRSSPR, Air de Paris, Nice
Documents, (with Henry Bond), Karsten Schubert Ltd, London
Documents, (with Henry Bond), A.P.A.C., Nevers
Documents, (with Henry Bond), Gio’ Marconi, Milan
84 Diagrams, Karsten Schubert Ltd, London

Selected Group Exhibitions
2023
Sculpting the Space, TARO NASU, Tokyo
2022
Farbe ist Programm, Bundeskunsthalle, Bonn
Austalian Fine Arts, Rocking Horse Records, Brisbane.
Group Exhibition, TARO NASU, Tokyo.
Project Palace: A Centenary, Bozar, Brussels.
A A TO T V (CLADINORO), No Show Space, London.
Cinétique ! La sculpture en mouvement, l’Espace Monte-Cristo, Fondation Villa Datris.
Les Pigeons du square (d’après et avec Jean Painlevé), Air de Paris.
Zusammen zeichnen, 201 Cadavre Exquis, Museum in Bellpark, Kriegs.
Indexing the Nature: From Near and Far Away, Gallery Baton, 9 Cork Street.
The Promise of Ruin(s) Chpt 2 Misfortunes of the turbo-tasking, The Balcony, The Hague.
As Long as it Lasts, Galerie Mai 36, Zurich
2021
Stroal169, Polling.
Age of You, Jameel Arts Centre Dubai
Mise en Scène, Shoot the Lobster, New York
Crocodile Cradle, Peer, London
Helga de Alvear Collection, Helga de Alvear Foundation Visual Arts Center, Cáceres
Collaborative Group Show between Taro Nasu & Esther Schipper, Taro Nasu, Tokyo
Dependent Objects, MCA Chicago
Collezione Ghigi, Museo Licini, Ascoli Piceno
Extended Minimalism 2.0, Galeria Javier Lopez & Fer Frances, Madrid
Pompeii Commitment. Materie archeologiche / Archaeological Matters, Archaeological Park ofPompeii
Ballard in Albisola, Casa Jorn, Albisola
Catastrophe and Recovery, MMCA, Seoul
Sculpture en fête!, Fondation Villa Datris, Isle-sur-la-Sorgue
Arcimboldo Face to Face, Centre Pompidou-Metzx_minimal, Cassina Projects, Milan
Cinema le Klingon, Air de Paris
Ora et Legere (Pray and Read), Broumov Monastery
Abstraction/Simulation, Centro de Arte Contemporáneo de Aínsa
En la casa de Marquès, Casa Museo Can Marquès, Esther Schipper
Social Photography IX, carriage trade, New YorkNow or Never – 50 Years LBBW Collection, Stuttgart
2020
de-sport: The Deconstruction and Reconstruction of Sports through Art, 21st Century Museum ofContemporary Art, Kanazawa
Utopia in Crisis, Bauhaus-Universität Weimar, WeimarMuseum for Preventive Imagination - Editorial, MACRO, Museum of Contemporary Art of Rome,
Rome
Schiele – Rainer – Kokoschka, Der Welt (M)Eine Ordnung Geben, Sammlung Ernst Ploil, Eine
Auswahl, Landesgalerie Niederösterreich, Krems
PS 81E, Esther Schipper, Berlin
Pas de deux, Part 1, Knust Kunz Gallery Editions, Munich
Another Idea: an actual conceptual art exhibition, Gray Center for Arts and Inquiry, Chicago

Piramide Bldg.4F, 6-6-9 Roppongi Minatoku Tokyo 106-0032 JAPANT +81-(0)3-5786-6900 F +81-(0)3-5786-6902 info@taronasugalley.com www.taronasugallery.com

2019
2018

2017

2016

A Fair Land Pforzheim, Hochschule Pforzheim, Pforzheim
Real Time, Seventeen gallery, London
It's Urgent, 2020, Luma Arles, Aries
Crocodile Cradle: An exhibition to be performed, Simon Moretti, London
Portable Documents Formatted for Home Use, Bel Ami, Los Angeles
Entree des Artistes, Air de Paris, Paris
Yesterday, Today, Tomorrow : Works from the Mudam Collection, Mudam, Luxemburg
Be Calm, Richard Levy Gallery, Albuquerque
Schiele – Rainer – Kokoschka, Der Welt (M)Eine Ordnung Geben, Sammlung Ernst Ploil, Eine
Auswahl, Landesgalerie Niederösterreich, Krems
gesture, form, technique V, TARO NASU, Tokyo
2020, Barbara Gladstone, New YorkThe LSD Portfolio, Georg Kargl, Vienna
Do it, A4 Contemporary Arts Center, Chengdu, China
Do it, Museum of Fine Arts at Florida State University, Tallahassee
A Little After the Millennium, Gallery Baton, Seoul
All in One, Eva Presenhuber, ZurichYour Floorplan, curated by Hyunjoo Byeon
Around the Day in Eighty Worlds, CAPC, Bordeaux
Fuck You Be Nice, Air de Paris, Paris.
7/2019 Gelatin and Liam Gillick, Stinking Dawn, Kunsthalle Wien
Trix & Robert Haussmann. The Log-O-Rithmic Slide Rule: A Retrospective, Nottingham
Contemporary, Nottingham
Soziale Fassaden, MMK Museum für Moderne Kunst, Frankfurt am Main
Trix & Robert Haussmann. The Log-O-Rithmic Slide Rule: A Retrospective, KW
Institute for Contemporary Art, Berlin
COLORI. L’emozione dei COLORI nell’arte, Castello di Rivoli Museo d’Arte, Rivoli
Elbphilharmonie revisited, Deichtorhallen, Hamburg
Like a Moth to a Flame, Officine Grandi Riparazioni / Fondazione Sandretto Re Rebaudengo, Turin
Mentally Yellow (High Noon), Kunstmuseum Bonn, Bonn and Städtische Galerie im Lenbachhaus,
MunichSeeds of Time, Shanghai Project: Chapter 2, Shanghai Himalayas Museum, Shanghai
True Faith, Manchester Art Gallery, Manchester
Variable Dimensions – artists and architecture, MAAT Museum of Art, Architecture, andTechnology, Lisbon
Publishing as an Artistic Toolbox, 1989-2017, Kunsthalle Wien, Vienna
Parapolitics: Cultural Freedom and the Cold War, HKW, Berlin
Where Text is Broken by a Building, Arario Museum, Seoul
Okayama Art Summit, Okayama (Artistic Director)
Invisible Adversaries, CCS Bard Hessel Museum, Annandale-on-Hudson
Dreamlands: Immersive Cinema and Art, 1905-2016, Whitney Museum of American Art, New York
Béton, Kunsthalle Wien Museumquartier, Vienna
140k, Kunstraum Ortloff, Leipzig
Still (the) Barbarians, EVA International, Ireland’s Biennial, Limerick
30th Anniversary Programme, Grazer Kunstverein, Graz
A History. Contemporary Art from the Centre Pompidou, Haus der Kunst, Munich
All Over, Galerie Des Galeries, Paris
Film, Eva Presenhuber, Zurich
A Material Legacy: The Nancy A. Nasher and David J. Haemisegger Collection of Contemporary
Art, Nasher Museum of Art at Duke University, DurhamMoving Image Department – 4th Chapter: The Rhetoric of Time, Revisited, National Gallery, Prague
Expanded Fields, Nymphius Projekte, Berlin
Fluidity, Kunstverein in Hamburg, Hamburg
All Systems Go, Cooper Gallery, DJCAD, Dundee
For an Image, Faster than Light, Yinchuan Biennale 2016, Museum of Contemporary Art, Yinchuan
The Natural Order of Things, Fundacíon Jumex, Mexico City

Piramide Bldg.4F, 6-6-9 Roppongi Minatoku Tokyo 106-0032 JAPANT +81-(0)3-5786-6900 F +81-(0)3-5786-6902 info@taronasugalley.com www.taronasugallery.com

2015

2014
2013

2012

British Art Show 8, Leeds Art Gallery, Leeds
14th Istanbul Biennale, Istanbul
10th Kaunas Biennial, Kaunas
6th Moscow Biennale, Moscow
In Girum Imus Nocte et Consumimur Igni, Museo Jumex, Mexico City
Summer Show 2015, Royal Academy of the Arts, London, United Kingdom
Space Between, FLAG Art Foundation, New York, NY
Ist Chapter: The Importance of Being a (Moving) Image, Prague National Gallery, Prague
Works on Paper, Galerie Eva Presenhuber, Zurich, Switzerland
Not: The Art of Resistance, Manchester School of Art Holden Gallery, Manchester
Adventures of the black square: Abstract art and society, Whitechapel Gallery, London
Beyond and Between, Leeum, Samsung Museum of Art, Seoul
Histories I: Works from the Serralves Collection, Serralves Museum, Porto
A Machinery for Living, Petzel, New York
Never Look Back When Leaving, Casey Kaplan, NY
Cross/Roads, Willie Birch and Liam Gillick, Bard CCS
Abstract Generation: Now in Print, MoMA, New YorkLove in a Cold Climate, S1 Artspace, Sheffield
DLA Piper Series: Constellations, Tate Liverpool, Liverpool, UK.
Draft Urbanism, The Biennale of the Americas, Denver, July 2013 (collaboration with Simon
Critchley)
Contemporary Artists of the Donegal Diaspora, Regional Cultural Centre, Letterkenny, July 2013
Unknown Forces, Tophane-i Amire, Istanbul, Aug 31, 2013
One foot in the real world, Irish Museum of Modern Art, Dublin, October 2013
Nuit Blanche, Paris, October 5, 2013
9 Artists, Walker Art Center, October 24, 2013
Abstract Possible: The Stolckholm Synergies, Tensta Konsthall, Stockholm
Utopie Gesamtkunstwerk, Belvedere, 21er Haus, Vienna
Schrift Bild, Galerie Meyer Kainer, Vienna
The Poster Show, Galerie Carlier-Gebauer, Berlin
True Stories: Scripted Realities, Govett-Brewster Art Gallery, New Plymouth,
New Zealand
How to Make - Ideen, Notationen, Materialisierungen, Kunsthaus Dresden
Read, Look! We promise it’s not dangerous, Emily Harvey Foundation, New York
Wir treffen uns am Abend, Galerie Kamm, BerlinSoundworks, ICA, London
Painting in Space, Luhring Augustine, New York
Looking Back for the Future, Kunsthalle, Zurich
Last Day, Cartel, London
Air de Paris Summer Show, Art & Rapy, Monaco
Group Exhibition, Kerlin Gallery, July
Take off your silver spurs and help me pass the time, Galerie Nikolaus Ruzicska,
Salzburg
Skulpturen und Reliefs aus der Sammlung, Kunsthalle Weishaupt, Ulm
Sense and Sensibility, Euskadi 2012
Rotary Connections, Casey Kaplan, New York
Positionen Konzeptueller Kunst, Rüdiger Schöttle, Munich
Print/Out, MoMA, New York
Various Stages, Kunsthaus Dresden
Decade: Contemporary Collecting 2002-2012, Albright Knox, Buffalo
True Stories: Scripted Realities, Te Tuhi Centre for the Arts, New Zealand
Where is the Power, Fort Worth Contemporary Arts
Parque Industrial, Galeria Luisa Strina, Sao PauloThe Feverish Library, Friedrich Petzel, New York
The Mystery Spot, Fondation d’enterprise Ricard, Paris
True Stories: Scripted Realities, Dunedin Public Art Gallery, New Zealand
Screens, Galerie Meyer Kainer, Vienna
Inhabited Architecture, Guggenheim Bilbao

Piramide Bldg.4F, 6-6-9 Roppongi Minatoku Tokyo 106-0032 JAPANT +81-(0)3-5786-6900 F +81-(0)3-5786-6902 info@taronasugalley.com www.taronasugallery.com

2011

2010

Film Matters, Arsenal Gallery, Bialystok
No more presence, The Artist’s Institute, New York
Someone else’s life, Kerlin Gallery, Dublin
Modern British Sculpture, Royal Academy, London
Scaffolding of contrition, LeRoy Neiman Gallery, New YorkWe Are Grammar, Pratt Institute Gallery, New YorkA lunatic on bulbs, Giorgio Pace Projects, Chesa Planta
Police!, Galerie Nathalie Seroussi, Paris
Abstract Possible, Museo Tamayo, Mexico, D.F
I am still alive, MoMA, New YorkSpace Oddity, Kunsthalle Andratx
Contemporary Magic: A Tarot Deck art project, Andy Warhol Museum, Pittsburgh
Sculpture Now, Galerie Eva Presenhuber, Zurich
Out of storage, Marres, Maastricht
Everything must Go!, Casey Kaplan, New York
Humid but cool I think, Taro Nasu, Tokyo
Footnote 6: As Model, Miguel Abreu, New York
Conversation Pieces, Tate, Liverpool
Als die Wälder auf Reisen gingen, Kunstverein Pforzheim
Göteborg International Biennale for Contemporary Art, Göteborg
In Deed: Certificates of authenticity in Art, De Vleeshal, Middelburg
In Deed: Certificates of authenticity in Art, Fondazione Bevilacqua, La Masa
Monodrome, 3rd Athens Biennale, Athens
Our Day Will Come & Iteration Again, University of Tasmania School of Art in Hobart
Obras de la collecion Jumex, Hospicio Cabanas, Guadalajara
The Air we Breathe, SFMOMA, San Francisco
Performa 11, New YorkOf Bridges and Borders: Chapter V, From Real to Surreal, Museo de Arte Moderno de
Buenos Aires
billboards and bus backs throughout Miami, Locust projects, Miami
Social Sculpture, Whitechapel Art Gallery, London
Liam Gillick and Gareth Long, Who invented the desk, The Apartment, Vancouver
A Guiding Light, with Anton Vidokle, Performa, New York
Animism, MuKHA/Extra City, Antwerp
Interference: Fields for listening and Praxis, The studio at Moderna Museet, Stockholm
It is it, Espacio 1414 Puerto Rico
Shazam, c/o Gerhardsen Gerner, Berlin
Corporate Everything, Kunsthalle Freiburg
Pictures about Pictures: Discources in Painting, MUMOK, Wien
Fantasy & Island, FRAC Corse
Art: Curated by Michael Craig-Martin, Haas and Fuchs, Berlin
Ce qui vient, Les Ateliers de Rennes, Biennale d’art contemporain, Rennes
The Promises of the Past, Centre Pompidou, Paris
Don’t Piss on me and tell me that it’s raining, Apex Art, New York
Film Matters, Beton 7, Athens
Kozmik Latte, Borusan Collection, Istanbul
High ideals and crazy dreams, Vera Munro, Hamburg
Post-Office, Artspace, Auckland
Men with Balls: Art of the 2010 World Cup, Apex Art, New York
Humanity is not a completed project, Villa du Parc, Centre d’art Contemporain,
Annemasse
89 KM. CGAC Collection, MARCO, Vigo
The Philosophy of Money, White Pavilion, Lisbon City Museum
Multiple Pleasures, Tanya Bonakdar Gallery, New York
Changing Britain: Documentary Photography from the Arts Council Collection,
Portcullis House, London
Unrealised Potential, Cornerhouse, Manchester
Aires de Jeux, Le Quartier, Quimper

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2009

2008

Today I made nothing, Elizabeth Dee Gallery, New York
Geometry in 20th Century Art, Museo d’arte Latinamericano de Buenos Aires
8th Shanghai Biennale, ShanghaiContemporary Magic: A Tarot Deck art project, National Arts Club, New YorkNature, Gerhardsen Gerner, Berlin
Which whitch is which and/or summertime, White Flag Projects, St. Louis
Without you I am nothing: Art and its Audience, Museum of Contemporary Art,
Chicago01-10, Esther Schipper, Berlin
Sphères 2009, Galleria Continua / Le Moulin, Boissy-le-Châtel
The one hundred and sixty-third floor, Liasm Gillick curate the collection, MCA
ChicagoSaints 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 YorkInternational Photo Festival Knokke-Heist, Knokke Heist
Beaufort 03, Oostende, Belgium
Unbuilt Roads, E-flux, New YorkA 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
The Night School, The New Museum, New York
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 YorkThe 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

Piramide Bldg.4F, 6-6-9 Roppongi Minatoku Tokyo 106-0032 JAPANT +81-(0)3-5786-6900 F +81-(0)3-5786-6902 info@taronasugalley.com www.taronasugallery.com

2007

2006

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
Lapdogs of the Bourgoisie, Platform Garanti, Istanbul
Active Constellation, Brno House of Art
Los Vinilos, El Basilico, Buenos Aires
The Redistribution of the Sensible, Galerie Magnus Muller, Berlin
Winter Palace, De Ateliers, Amsterdam
If Everybody had an Ocean: Brian Wilson, une exposition, CAPC, Musée d´Art Contemporain de
Bordeaux, BordeauxAirs de Paris, Centre Pompidou, Paris
Franz West: Soufflé, Eine Massenausstellung, Kunstraum Innsbruck
Projektion, Lentos Kunstmuseum, Linz
Intocable (El ideal de la transparencia), Patio Herreriano Valladolid, Valladolid, Spain
Il Tempo del Postino, Manchester International Festival, Manchester
If everyone 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
It starts from here, De La Warr Pavillon
All You Desire, PPOW, New York
Other Men’s Flowers, Venetia Kapernekas Gallery, New YorkFranchise, 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
Floating Territories, Various Locations (Venice, Istanbul…)
Eva Presenhuber/Jubilee Exhibition, Vnà
Fusion Now! More light, more power, more people, Rokerby Gallery
Xmas Hysteria, Galerie Emi Fontana, Milan
Tomorrow is Another Day, Kunho Museum of Art, Artsonje Center, Seoul
Edition Schellmann Door Cycle, Friedrich Petzel Gallery, New YorkThe Shapes of Space, The Solomon R. Guggenheim Museum, New York
Memorial to the Iraq War, ICA, London
Hommage a Charles Fourier, Musée des Beaux Arts e Archeologié Besancon
Modelle für Morgen: Köln, European Kunsthalle, Cologne
Pure, Sean Kelly, New YorkThe Redistribution of the Sensible, Magnus Muller, Berlin
Collateral: When Art Looks at Cinema, HangarBicocca, Milano
unitednationsplaza, Berlin
If I can’t dance, I don’t want to be part of your revolution, de Appel, Amsterdam
Saigon: Open City, Saigon
All Hawaii Entrées / Lunar Reggae, Irish Museum of Modern Art, Dublin
Grey Flags, CAPC Musée d’Art Contemporain, Bordeaux

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2005

Eye On Europe: Prints, Books & Multiples/1960 to Now, Museum of Modern Art,
New York
How to improve the world, Hayward Gallery, London
Faster! Bigger! Better!: Signetwerke aus den Sammlungen, ZKM, Karlsruhe
Academy: Learning from the Museum, Van Abbemuseum, Eindhoven
Projektion, Kunstmuseum Luzern, Luzern
Modus, Neue Kunsthalle St. Gallen, St. Gallen
Classical: Modern I, DaimlerChrysler Contemporary, Berlin
Intouchable: L’Idéal Transparence, Villa Arson, Nice
Undisciplined: 3rd Biennale of Ceramics in Contemporary Art, Albisola
Abstraction Now: Strictly Geometrical, Wilhelm Hack Museum, Ludwigshafen
Broken Surface: ein Editionsprojekt, Galerie Sabine Knust, München
100 Artists See God, (curated by John Baldessari & Meg Cranston),
Cheekwood Museum of Art, Nashville
Eine Person Allein In Einem Raum Mit Coca-Cola-Farbenen Wänden, Grazer
Kunstverein, Graz
Cinéma(s), Le Magasin, Grenoble
Fondos da Colección CGAC: Entre o proceso e a forma, CGAC, Santiago deCompostela
Slow Burn, Galerie Edward Mitterand, Geneva
Minimal Illusions, Galerien der Stadt Esslingen
Under Construction, European Kunsthalle, Cologne
Kristallisationen: 10 Künstler für Theresienthal, Andreas Murkudis Temporary,
MunichProjektion, Kunstmuseum Luzern, Luzern
Grey Flags, The Sculpture Center, New York
Ordnung und Verführung, Haus Konstruktiv, Zürich
Bühne des Lebens: Rhetorik des Gefühls, Lenbachhaus, München
A short history of performance Part 4, Whitechapel Art Gallery, London
Back and Forth, Stiftung Wilhelm Lehmbruck Museum, Duisburg
Supernova, Galerie Jana Koniarka, Trnava
Thankyou for the Music (London Beat), Sprüth Magers Lee, London
Sprung ins Kalte Wasser, Shedhalle, Zurich
Turtle, Chelsea Space, London
Dirty Words, Galeria Pedro Cera, Lisbon
Klinik: Eine pathologie der Gesten, Hebbel am Ufer, Berlin
Tate Triennial, Tate Britain, London
L´Exposition Qui N´Existe Pas, MAMCO, Genève
Minimalism and After IV: Neuerwerbungen, DaimlerChrysler Contemporary, Berlin
The Party, Casey Kaplan, New York
Supernova, Contemporary Art Centre, Vilnius
Galleri MGM, OsloThank You for the Music, Sprüth Magers, Munich
Nur Hier? Teil III – Im Bild Sein, Hochschule für Grafik und Buchkunst, Leipzig
The Party, Casey Kaplan, New York
Strictly Confidential: From the Collection of Marc & Josée Gensollen, Centre
International d’Art et du Paysage de l’Ile de Vassivière, Ile de Vassivière
Bidibidobidiboo, Fondazione Sandretto Re Rebaudengo, Guarene/Torino
Reception, Büro Friedrich, Berlin
En Route: Via Another Route, Trans-Sibirian train, Moscow to Beijing
Passion Beyond Reason, Wallstreet One Gallery, Berlin
Rundlederwelten, Martin-Gropius-Bau, Berlin
Ambiance, K21, Düsseldorf
Extreme Abstraction, Albright Knox Art Museum, Buffalo
New Cohabitats, Galerie Ghislaine Hussenot, Paris
Goodbye 14th Street, Casey Kaplan Gallery, New York
Post Notes, ICA, London; Midway Contemporary Art, Minneapolis
Group Show, Air de Paris, Paris

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2004

EN/OF 001-030, Museum Kurhaus, Kleve
Icestorm, Kunstverein München, Munich
Go-Between, Bregenzer Kunstverein Magazin 4, Bregenz
I Really Should..., Lisson Gallery, London
Nach Rokytník: Die Sammlung der EVN, MUMOK, Vienna
Exit – Ausstieg aus dem Bild, ZKM, Karlsruhe
The Furniture of Poul Kjaerholm and Selected Artwork, Sean Kelly and 20th Century,
New York
Good Titles for Bad Books, Kevin Bruk, Miami
The Strange, Familiar and Unforgotten, Galerie Erna Hecey, Brussels
Anna Sanders Films, Cinema Svetozor, Prague
Supernova, Bunkier Sztuki, Kraków
La La Land, The Project, Dublin
General Ideas: Rethinking Conceptual Art 1987-2005, CCA Wattis, San Francisco
Etc., Le Consortium, Dijon
Snow Black, Yvon Lambert, New York
Briannnnnn & Ferryyyyyy (with Philippe Parreno), Vamiali’s, Athens
Edgar Schmitz, ICA, London
100 Artists See God, (curated by John Baldessari & Meg Cranston),
Contemporary Art Center of Virginia, Virginia Beach
100 Artists See God, (curated by John Baldessari & Meg Cranston),
Albright College Freedman Art Gallery, Reading, PA
Minimalism and after, Daimler Chrysler Collection, Berlin
Singular Forms (Sometimes Repeated): Art from 1951 to the Present, Guggenheim
Museum, New York
Establishing Shot, Artist’s Space, New YorkThe Drawing Project, Vamiall’s, Athens
Specific Objects, Galerie Mehdi Chouakri, Berlin
Before the End (cur. by Stéphane Moisdon Trembley), 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
Across the Border, MDD - Museum Dhondt-Dhaenens, Deurle
Russian Doll, MOT Unit 54, London
9 Mütter XX04, Mütter Museum, Philadelphia
Artist' Favorites. Act I + Act II, ICA Institute of Contemporary Arts, London
Emotion Eins, Ursula Blickle Stiftung, Kraichtal; Frankfurter Kunstverein, Frankfurt
a.M.
Drunkenmasters, Galeria Fortes Vilaca, Sao Paulo
Sadie Hawkins Dance, Southfirst, Brooklyn
ON SIDE, (with Henry Bond, cur.by Albano Silva Pereira, Miguel Amado), CAV
Centro De Artes Visuais, 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
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, ICA Institute of Contemporary Arts, London, touring
Rider: Law and Creativity Briannnnnn & Ferryyyyyy (with Philippe Parreno), Konsthall,
Lund
Dicen que finko o miento. La ficción revisada, Central de arte, Guadalajara
Poul Kjaerholm, Sean Kelly, New York

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2003

2002

Perfect Timeless Repitition, c/o Atle Gerhardsen, Berlin
No Ghost Just a Shell, Van Abbemuseum, Eindhoven
III 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, ZurichThis was Tomorrow, New Art Centre, Salisbury
The Air is Blue, Barragan House, Mexico CityJRP Editions, Galería Javier Lopez, Madrid
Form Specific: Arteast Exhibition, Moderna Galerija, Ljubljana
Soziale Fassaden u.a., Lenbachhaus München, Munich
Utopia Station, La Biennale di Venezia, Venice
Imperfect Marriages, Galleria Emi Fontana, Milano
I Moderni, Castello di Rivoli Museo d'Arte Contemporana, Rivoli (Torino)
Glamour, British Council, Prague
20 th Anniversary Show, Sprüth Magers, Cologne
Typofgravy, Cell, London
Tirana Biennale 2, Tirana
3D, Friedrich Petzel, New York
Social Facades and Others, Lenbachhaus, Munich
25th International Graphic Biennial, Ljubljana
Honey I rearranged the collection, Greengrassi/Corvi-Mora, London
EN/OF Editionen, Heeresbäckerei Guestroom, Berlin
Abstraction Now, Künstlerhaus Wien, Vienna
How to learn to love the bomb and stop worrying about it, National Chamber of Art
Industries, Mexico City
C’est arrivé demain, 7e Biennale de Lyon, various venues, Lyon
Wittgenstein: Familiy Likenesses, Institute of Visual Culture, Cambridge
Coollustre, Collection Lambert en Avignon, Avignon
Adorno 100. Die Möglichkeit des Unmöglichen, Frankfurter Kunstverein, Frankfurt am
Main
A Nova Geometria, Galeria Fortes Vilaca, Sao Paulo
Everything Can Be Different, Maryland Institute College of Art, Baltimore
Bad Behaviour: Works from the Arts Council Collection, Yorkshire Sculpture Park
A film, a clip, a documentary, Corvi-Mora, London
Telling Histories, Kunstverein München
Urgent Painting, ARC Musée d'Art Moderne de la Ville de Paris, Paris
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 Camillo Gil, San AngelJ’en ai pris des coups mais j’en ai donnés aussi, Galerie chez Valentin, Paris
Art & Economy, Deichtorhallen, Hamburg
Reflexions, Monika Sprüth Philomene Magers, Munich
Everything Can Be Different, University of Memphis, Tennessee
Void, CCA Kitakyushu, Rice Gallery, Tokio
Startkapital, K21, Düsseldorf
Parallel Structures, Gertrude Contemporary Art Spaces, Fitzroy, Victoria
Private Views, Printed Space, London
The Ink Jetty, Neon Gallery, London
Inframince, Cabinet Gallery, London
Dark Spring, in Kooperation mit Liam Gillick, Ursula Blickle Stiftung, Kraichtal
Flash Two: JRP Editions, cbb.chouakri brahms, Berlin
Häuser für Leipzig. KünstlerInnen als ArchitektInnen, Galerie für zeitgenössiche
Kunst, Leipzig
Liam Gillick, Ann Lee Proposes, 2001, Fondation Mamco, Geneva
Happy Outsiders from Scotland and London, Zachetal, Warsaw: City Gallery,

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Katovice
The Object Sculpture, Henry Moore Institute, Leeds
Sans Consentement, CAN Centre d'Art Neuchâtel, Neuchâtel
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, London
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
Relational Aesthetics from the 1990‘s to now, San Francisco Art Institute, San
Francisco
Turner Prize, Tate Gallery, London
This Play 31, La coleccion Jumex, Mexico
L’Image Habitable (The Living Image), MAMCO, Geneva
It’s Unfair, Museum de Paviljoens, Almere
No Ghost Just a Shell, Institute of Visual Culture, Cambridge
Lap Dissolve, Casey Kaplan, New York
Gleitsicht, Krypta 182, Berg, Gladbach
No Ghost Just a Shell, San Francisco Museum of Modern Art
2001

Century City, Tate Modern, London
Demonstration Room: Ideal House, Apex Art, New YorkHistoire 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, Malmö
2nd berlin biennale, Postfuhramt, Kunst-Werke and other locations, Berlin
Contemporary Utopia, Latvian Centre for Contemporary Art, Riga
Collaborations with Parkett: 1984 to now, Museum of Modern Art, New YorkInternational Language, Grassy Knoll Productions, various sites, Belfast
Strategies against Architecture II, Laboratorio per l'Arte Contemporanea,
Fondazione Teseco, Pisa
Lyon Bienale, Musée d’Art Contemporain, Lyon
The Wedding Show, Casey Kaplan, New YorkA New Domestic Landscape, Galeria Javier Lopez, Madrid
Geometry and Gesture, Thaddeus Ropac, Salzburg
A Timely Place, or, Getting Back to Somewhere, London Print Studio, London
Dedalic Convention, MAK-Galerie, Vienna
Stéphane Dafflon, Lim Gillick, Xavier Veilhan, Le spot, Le Havre
The Communications Department, Anthony Wilkinson Gallery, London
Ambiance Magasin, Meymac Centre d‘Art Contemporain
Beautiful Productions: Parkett, Whitechapel Gallery, London
Demonstration Room: Ideal House, NICC, Antwerp
Open Plan P3 - The Marathon, Alphadelta Gallery, Athens
Everything Can Be Different, Jean Paul Slusser Gallery, University of Michigan
School of Art, Ann Arbor/University of Memphis, Maryland Institute College ofArt, Baltimore
Rumour City, Raffinerie, Brussels; TN Probe, Japan

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2000

En/Of, Schneiderei, Cologne
The End of All Things, with Douglas Gordon, Galleria Massimo de Carlo, Milan
Stadt unter dem Himmel/City under the Sky, Part 3, BüroFriedrich, Berlin
MEGA-WAVE-Towards a New Synthesis, International Triennale ofContemporary Art, Yokohama
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, Gèneve
En/Of, Schneiderei, Köln
Strategies against Architecture II, Laboratorio per l'Arte Contemporanea, Pisa
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
Dedalic Convention/Du und Ich (With Anette Kosak and Gary Webb) Salzburger
Kunstverein, Salzburg
29th International Film Festival, RotterdamContinuum 001, (curated by Rebecca Gordon Nesbitt) CCA, Glasgow
Stortorget i Kalmar, Stadens Konstråds Galleri, Kalmar
Media City 2000, Seoul
Group Show, Casey Kaplan Gallery, New York
Wider Bild Gegen Wart. Positionen zu einem politischen Diskurs, RAK, Vienna
14 + 1. Kunst aus den EU-Ländern, Feichtner & Mizrahi, Vienna
Decompressing History, (curated by Lars Bang Larson), Galeri Enkehuset, Stockholm
Viva Maria III, Galerie Admiralitätsstraße, Hamburg
British Art Show 5, Touring Exhibition, Edinburgh, Southampton, Cardiff,
Birmingham
Dire Aids. Arte nell’epoca dell’Aids/ Art in the Age of Aids, Palazzo della Promotricedelle Belle Arti, Turin
Working Title, Stanley Picker Gallery, Kingston University
What If. Art on the Verge of Architecture and Design, Moderna Museet, Stockholm
Etat des Lieux #2. Préfiguration du Museum of Contemporary Art, Tucson (AZ)
Collection JRP, FriArt, Centre d’Art Contemporain, Fribourg
Interplay, selected works from the museum and private collections, The National
Museum of Contemporary Art, Oslo
Group Show, Paula Cooper Gallery, New York
Future Perfect, Centre for Visual Arts, Cardiff
Haut de Forme et Bas Fonds, FRAC Poitou-Charentes, Angoulême
Vicinato 2, Fig 1, London
Vicinato 2, Galerie neugerriemschneider, Berlin
Werkleitz Biennale, Tornitz
Wider Bild Gegen Wart. Positions to a Political Discourse, Nieuw Internationaal
Kultureel Centrum, Antwerp
Perfidy, Le Corbusier Chapel, La Tourette, Eveaux
Protest and Survive, Whitechapel Gallery, London
e-mona, The Museum of New Art, Detroit
Aussendienst. Kunstprojekte in öffentlichen Räumen Hamburgs, Kunstverein in
Hamburg
Indiscipline, Roomade, Brussels
Que saurions-nous construire d’autre? (What else could we build?) La Villa
NoaillesCasa Ideal, Museo Alejandro Otero, Caracas
Intelligence, Tate Britain, London
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

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1999

1998

painting it white, Institute of Visual Culture, Cambridge
Ausstellung der Jahresgaben, Westfälischer Kunstverein, Münster
Group Show, Corvi-Mora, London
Future Perfect, Cornerhouse, Manchester
itsapoorsortofmemorythatonlynunsbackwards, Goldsmiths College, Creative Curating,LondonPl@ytimes, Centre National d' Art Contemporain de Grenoble, Grenoble
Xn, Maison de la culture, Chalon
Oldnewtown, Casey Kaplan, New York
Konstruktionszeichnungen, Kunst-Werke, Berlin
Continued Investigation of the Relevance of Abstraction, Andrea Rosen Gallery,
New York
Nur Wasser lässt sich Leichter schneiden, Hedrichsmühle, Hamburg Altona
12 artists, 12 rooms, Galerie Thaddeus Ropac, Salzburg
Air de Paris: works by AND/OR informations about, Grazer Kunstverein, Graz
Tang, Turner and Runyon, Dallas
Plug-ins, Salon 3, London
Etcetera, Spacex Gallery, Exeter
Laboratorium, Provincial Museum voor Fotografie, and different locations in the city,
Antwerpen
Out of Sight - a cross-reference exhibition, BüroFriedrich, Berlin
Essential Things (curated by Guy Mannes Abbott), Robert Prime, London
In The Midst of Things, University of Central England, Bourneville
Le Capitale, (curated by Nicolas Bourriaud), Centre Regionale d’Art Contemporain,
Sète
The Space Here is Everywhere, Villa Merkel, Esslingen am Neckar
Objecthood OO, Athens
Tent, Centrum Beeldende Kunst, 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 - Kunst als Teamwork, with Henry Bond, Kunsthalle Wien, Karlsplatz,
Vienna1999 East Wing Collection, Coutald Institut of Art, London
Jonathan Monk, featuring Delay Screen by Liam Gillick, Casey Kaplan, New York705 Wings of Freedom (curated by Uwe Schwarzer), Berlin
Officina e Europa, Bologna
Une histoire parmi d’autres, collection Michel Poltevin, FRAC Nord-Pas de Calais
Space, Schipper und Krome, Berlin
Let’s Get Lost, Central St. Martins College of Art and Design, London
Tendenzen der 80er und 90er Jahre, museum für neue kunst, Karlsruhe
Fast Forward, Kunstverein in Hamburg, Hamburg
Liam Gillick, John Miller, Joe Scanlan, Raum Aktueller Kunst, Vienna
Artist/Author: Contemporary Artists’ Books, American Federation of Arts touringshow. 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,LondonA to Z, (curated by Matthew Higgs), The Approach, London
Arena, Sport und Kunst, Ausstellungshalle im Rathaus, Munich
Construction Drawings, (curated by Klaus Biesenbach), PS1, New York
Kamikaze, Galerie im Marstall, Schloßplatz, Berlin
Inglenook, (curated by Evette Brachman), Feigen Contemporary, New YorkIn-significants, Stockholm, Sweden

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1997

1996

London Calling, The British School at Rome & Galleria Nazionale d’Arte Moderna,
Rome
Fuori Uso ‘98, Mercati Ortofrutticoli, Pescara
The Erotic Sublime (Slave to the Rhythm), Galerie Thaddaeus Ropac, Salzburg
Videostore, (organised by Nicolas Tremblay and Stephanie Moisdon), Brick andKicks, Vienna
UK - Maximum Diversity, Galerie Krinzinger, Bregenz/Vienna
Weather Everything, (curated by Eric Troncy), Galerie für zeitgenössische Kunst,
Leipzig
Entropy, (curated by Wilhelm Schurmann), Ludwigforum, Aachen
Places to Stay 4 P(rinted) M(atter), BüroFriedrich, Berlin
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
3+1=4 x 1, Galerie für Zeitgenössische Kunst, Leipzig
Life/ live, Centro Cultural de Belém, Lisbon
Temps de Pose, Temps de Parole, Musée de l'achevinage, Saintes
Des Livres d'Artistes, L'Ecole d'Art de Grenoble
Ajar, Galleri F15, Jeløy, Oslo
Enter: Audience, Artist, Institution, (curated by Barbara Steiner), Kunstmuseum
Luzern, Luzern
4 projects/ 4 Events, Transmission Gallery, Glasgow
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 York504, (curated by John Armleder), Kunsthalle Braunschweig, 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
Kunst..Arbeit, Südwest LB, Stuttgart
Hospital (curated by Sarah Morris), Galerie Max Hetzler, Berlin
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, ParisGroup Show, Schipper & Krome, Berlin
Co-operators, Southampton City Art Gallery, Southampton
Traffic, (curated by Nicholas Bourriaud), CAPC, BordeauxKiss 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, Künstlerhaus, Stuttgart
Dinner, (organised by Giorgio Sadotti), Cubitt Gallery, London
Some Drawings From London, (Curated by Kate Bernard), Princelet Street, London
Nach Weimar (curated by N. Schafhausen and K. Biesenbach), Landesmuseum,
Weimar
How Will We Behave?, Robert Prime, London

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1995

1994

1993

Escape Attempts, Globe, Copenhagen
Life/Live, Musée d'Art Moderne de la Ville de Paris, Paris
Such is Life, Serpentine Gallery, London; Palais des Beaux Arts, Brussels; Herzliya
Museum of Art, Herzliya
Itinerants Texts, Camden Arts Centre, London
Lost For Words, Coins Coffee Store, London
All in One, Schipper & Krome, Cologne
A Scattering Matrix (Curated by Jane Hart), Richard Heller Gallery, Los Angeles
Found Footage, Tanja Grunert & Klemens Gasser, Cologne
Glass Shelf Show, ICA, London
Supastore de Luxe, Up & Co., New York
Limited Edition Artist's Books Since 1990, Brooke Alexander, New York
Möbius Strip, Basilico Fine Arts, New York
Bad Times, (curated by Jonathan Monk), CCA, Glasgow
In Search of the Miraculous, Starkmann Library Services, London
Faction, Royal Danish Academy of Arts, Copenhagen
La Labyrinthe Moral, Le Consortium, Dijon
Stoppage, CCC, Tours
Stoppage, Villa Arson, Nice
Summer Fling, Basilico Fine Arts, New York
Collection fin XXéme, FRAC Poitou Charentes, Angouleme
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, Cologne
Don’t Look Now, (curated by Joshua Decter), Thread Waxing Space, New York
Backstage, Kunstmuseum Luzern
Surface de Réparations, (curated by Eric Troncy), FRAC, Dijon
Cocktail I, Kunstverein in Hamburg, 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, Camera Austria/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
Terratorio Italiano, (curated by Giacinto di Pietrantonio), Milan
Gesellschaft für Aktuelle Kunst, (curated by Tom Eccles) Bremen
Travelogue, Hochschule fur Angewandte Kunst, (curated by Jackie McAllister),
ViennaLos Angeles International, Esther Schipper/Christopher Grimes, Los Angeles
Wonderful Life, Lisson Gallery, London
Group Show, Esther Schipper, Cologne
The London Photo Race, Friesenwall 120, Cologne
Futura Book, Air de Paris, Nice
Points de Vue, Galerie Pierre Nouvion, Monaco
Manifesto (curated by Benjamin Weil), Hohenthal und Bergen, Munich
Backstage (curated by Stephan Schmidt-Wulffen & Barbara Steiner), Kunstvereinin Hamburg, Hamburg
Two out of four dimensions, Centre 181, London

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1992

1991
1990

Dokumentation über, Arbeiten von, Esther Schipper, Cologne
Unplugged (curated by Nicolas Bourriaud), Cologne
Tatoo, Air de Paris/Urbi et Orbi, Paris/Daniel Buchholz, Cologne; Andrea Rosen,
New York
Molteplici Culture, (selected by Giorgio Verzotti), Rome
Lying on top of a building the clouds look no nearer than they had when I was lying inthe street, Monika Sprüth, Cologne/Esther Schipper, Köln/ Le
Case d’Arte, Milan
Manifesto, (curated by Benjamin Weil), Daniel Buchholz, Cologne/ Castello di
Rivara, Turin/ Wacoal Arts Centre, Tokyo/Urbi et Orbi, Paris
Etats Specifique, Musée d’Art Moderne, Le Havre
The Speaker Project, ICA, London
12 British Artists, Barbara Gladstone/SteinGladstone, New YorkGroup Show, Esther Schipper, Cologne
Instructions, Gio' Marconi, Milan
ON, Interim Art, London
No Man’s Time, CNAC, Villa Arson, Nice
Air de Paris à Paris, Paris
The Multiple Projects Room, Air de Paris, Nice
The Multiple Projects Room, Air de Paris, Nice

Collaborative Projects
2022
Farbe ist Programm, Bundeskunsthalle, Bonn
2021
Prima Che Il Gallo Canti, (with Tom Eccles and Mark Rappolt), Palazzo Re Rebaudengo, Guarene
2019
Gelatin and Liam Gillick, Stinking Dawn, Kunsthalle Wien
2017
Schreibstischuhr Galerie Meyer Kainer, Vienna
Like a Moth to a Flame (with Tom Eccles and Mark Rappolt), OGR, Sandretto Foundation, Torino
2016Your Jets (with Jonathan Monk), Quartz Studio, Milan
Development, Okayama Art Summit, Okayama
2014
Solaris Chronicles (with Philippe Parreno), Luma Foundation, Arles
International Company of Wagons Lit etc. etc., (with Rachel Harrison), Galerie Meyer Kainer,
ViennaConfessions of the Imperfect, 1848-1989-Today, Van Abbemuseum, Eindhoven
2013
The Lie and the Powerpoint, Falke Pisano, Liam Gillick, Benoit Maire, Shanaynay, Paris.
Adam Curtis, The desperate edge of now, Home Workspace Program, Beirut
2012
To the moon via the beach, organised by Liam Gillick and Philippe Parreno, together
with Beatrix Ruf, Hans Ulrich Obrist and Tom Eccles, LUMA Foundation, Arles
Adam Curtis, The desperate edge of now, e-flux, New York2011
A syntax od Dependency, Liam Gillick and Lawrence Weiner, MuKHA, Antwerp
2010
A Guiding Light, with Anton Vidokle, Shanghai Biennale/Performa, New York,
Babylon, Berlin
Liam Gillick and Gareth Long, Who invented the desk, The Apartment, Vancouver
2009
The one hundred and sixty-third floor, Liam Gillick curate the collection, MCA Chicago
2008
2007
2005
2004
2003
2002
2001

The Night School, The New Museum, New York
Unitednationsplaza (organized by Anton Vidokle), Platz der Vereinten Nationen,
BerlinIl Tempo Postino, Manchester Festival
Briannnnnn & Ferryyyyyy (with Philippe Parreno), Vamiali’s, Athens
Revolver Archiv, ICA, London
Edgar Schmitz, ICA, London.
Rider: Law and Creativity (with Philippe Parreno), Lunds Konsthall, Lund
Telling Histories, Kunstverein München, Munich
Dark Spring (with Nicolaus Schafhausen and Markus Weisbeck), Stiftung Ursula
Blickle, Kraichtal-Uö
Dedalic Convention (with Annette Kosak), MAK, Vienna
Dedalic Convention/Du und Ich (with Annette Kosak and Gary Webb), Salzburger
Kunstverein, Salzburg

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2000
1999
1995
1992
1992

itsapoorsortofmemorythatonlynunsbackwards, Goldsmiths College, Creative Curating,LondonOldnewtown, Casey Kaplan, New York
Faction, Royal Danish Academy of Arts, Copenhagen
Stoppage, CCC, Tours
Stoppage, Villa Arson, Nice
The Speaker Project, ICA, London
Instructions, Gio’ Marconi, Milan

Public Projects
2019
Folede Extracted Personified, Museum of Islamic Art Park, Qatar Museums, Doha2018
Trianglated Passage Work, Olympic Tower, New York2016
Structured Expansion, Bard College CCS Archive, Annandale on Hudson
Faceted Development, Okayama, Japan
2015
Pressehaus Ringier, Zurich
JTI, Geneva
European Central Bank, Frankfurt
Paris Climate Change, Gare du Nord, Paris2014
Maharam, Los Angeles
Incised Verification Structure, Kristallen, Lund, Sweden
2012
Swiss Re, Zurich
Astra Factory, Gernika, Basque Region, Spain
Coniston Institute Library, Coniston
2011
Maharam, Chicago
2010

Aix Pavilion, Chateau la Coste, Aix en Provence
Centene Plaza, St. Louis, Mo.
La aparente union del cielo y la tierra, Locust Projects, Miami
2009
Fairmont Pacific Rim, Vancouver
2008
Dynamica Building, Guadalajara
2007
Lufthansa, Frankfurt
Factory in the Snow, Tierra y ammonia, Guadalajara
Full scale model of a social structure for a plaza in Anyang, Anyang, Korea
Cambridge Library, Cambridge MA
2006
Farmont Pacific Rim, Vancouver, Canada
Maharam, Chicago
2005
Dior Homme, Shanghai (with Sean Dack)
BSI, Lugano
2004
Museum in Progress, Rolling Boards, Vienna
Swiss Re, London
2003-5
The Home Office, London
2003
Regents Place - British Land, London
Headache, phone card, soda, donuts, stereo, London Underground/Frieze Art Fair,
London, Ft. Lauderdale/Hollywood International Airport
2002
Dekabank, Frankfurt
Alcobendas, Madrid
Kirchdorf School
Mercat, Alicante
Olnick Corporation, New Jersey
2001
Telenor, Oslo1999
BIC Technologiezentrum, Leipzig
Recorded Works
2010

Liam Gillick and Corinne Jones, Brigade Commerz

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2005
2003
2002
2001
1995

Los Angeles, Semishigure, Kleve
Liam Gillick/Rob Mazurek, En/Off, Kleve
Ekkehard Ehlers & Joseph Suchy/Liam Gillick, En/Off, Frankfurt
Capital, Semishigure, Kleve. (CD)
Wood (part of Void), CCA, Kitakyushu
Liam Gillick Meets Scott Olson in Japan, Whatness, Frankfurt
Stoppage, CCC Tours/Villa Arson, Nice

Live events∑(No,12k,Lg,18Ogr) So it goes... New Order and Liam Gillick, Ogr, Torino, 2018∑(No,12k,Lg,18Wfw) So it goes... New Order and Liam Gillick, Wiener Festwoche, Vienna, 2018∑(No,12k,Lg,17Mif) So it goes... New Order and Liam Gillick, Manchester International Festival 2017
Construcción de Uno, Tate, London, 2006

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BIBLIOGRAPHY
Monographic publications
Exh. Cat. From 199A to 199B: Liam Gillick, Hessel Museum of Art, Center for Curatorial Studies, 2012
Exh. Cat. One long walk – two short piers…, Kunst- und Ausstellungshalle der Bundesrepublik Deutschland, Bonn,
Liam Gillick, Snoeck, 2010
Schafhausen, Nicolaus, Liam Gillick, How are you going to behave? A kitchen cat speaks. Exh.cat. Deutscher
Pavilion, 53rd Biennale di Venezia, Berlin 2009
Szewczyk, Monika (et al), Meaning Liam Gillick, MIT Press Cambridge, 2009
Peephole Sheet, Mousse Publishing, Milan, 2009
Ein kurzes Szenario: a “Volvo” bar, 8. August 1993, Kunstverein München, Munich, 2008
Haberer, Lilian, Factories in the snow, JRP/Ringier, Zürich, 2007
Haberer, Lilian, Prinzip Raumbildung, Parallele Strukturen im Werk von Liam Gillick, Verlag für Moderne Kunst,
Nürnberg, 2006
McNamara Motel, CAC Malaga, 2005
Woven/Intersected/Revised, BSI art collection Lugano, 2005
Another 2004 Again, The Baltimore Museum of Art, Baltimore, 2005
Briannnnn and Ferryyyyy, (w. Philippe Parreno), Lunds Konsthall, Lund, 2004
Liam Gillick, Oktagon Verlag, Cologne, 2000
McNamara Papers, Erasmus and Ibuka! Realisations, The What If? Scenarios, DeutscheÜbersetzung des Consortiums Kataloges, ed. Kunstverein in Hamburg, Hamburg, 1998
Books by Liam Gillick
From 199A to 199B, Hessel Museum, Bard CCS/Le Magasin, Grenoble, 2014
The Bampton Lectures, Columbia University, 2014
Why Work?, Auckland, Artspace, 2010
1848!!!, fragment from “Why Work”, Artspace Auckland, 2010
Memoirs of the twentieth century/ Prevision: Should the future help the past, New York, Halmos, 2010
All Books – McNamara, Erasmus is late, Ibuka!, The Winter School, Discussion Island / Big Conference Centre,
Literally No Place, Book Works London, 2009
Maybe it would be better if we worked in groups of three, Hermes Lecture, 2008
Ein Rückblick aus dem Jahre 2000 auf 1887 (with Matthew Brannon), Leipzig, Galerie für Zeitgenössische Kunst,
2008
Proxemics, Selected Writings (1988-2006), JRP Ringier, Zürich, 2006
Malaga – An album of Covers, Liam Gillick and M/M, Paris, Brussels, Two Star Books, 2006
Le Montrachet, Liam Gillick and Heather McGowan, Los Angeles, Rocky Point Press, 2006
The Metaphor Problem Again: A Conversation Between John Baldessari, Lawrence Weiner, and Liam Gillick, ed.
Beatrix Ruf, Springer Verlag, Vienna, 2006
Between Artists, Liam Gillick Lawrence Weiner, A.R.T. Press, Canada, 2006
Curating with Light Luggage, ed. Liam Gillick and Maria Lind, Kunstverein München, Munich, 2005
Underground (Fragments of Future Histories), Gabriel Tarde, updated by Liam Gillick, Les Presses du Reél, Dijon,
2004
Anna Sanders Films Identity Spot (w. Sean Dack), onestar press, Paris, 2004
Literally No Place, Communes, Bars and Greenrooms, Book Works, London, 2002
Bridge the Gap?, Center for Contemporary Art, Verlag der Buchhandlung Walther König, Cover Design Liam Gillick,
2002
Exh. Brochure, Liam Gillick – The Wood Way, Whitechapel Gallery, London, 2002
Renovation Filter: recent past and near future, Arnolfini, Bristol, 2000
The Book of the 3rd of June, CCA, Kitakyushu, 2000
Five or six, Lukas & Sternberg, New York, 1999
Ein Rückblick aus dem Jahre 2000 auf 1997, Eduard Bellamy, Leipzig, 1998
Big Conference Center, Das große Konferenzzentrum, edited by Barbara Steiner for the Kunstverein Ludwigsburg,
1997
Erasmus is Late, London, Book Works, 1995

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Ibuka!, Künstlerhaus Stuttgart, 1995
Technique Anglaise (with Andrew Renton), London, One-Off Press/Thames & Hudson, 1991
Publications
Half a Complex, Berlin, Hatje-Cantz, 2019
Campaign, Porto, Muséu Serralves., 2016
From 199A to 199D, Zurich, CNAC Magasin, Bard College, JRP-Ringier, 2015
Exh. Cat. Utopie Gesamtkunstwerk, Herausgegeben von Agnes Husslin-Arco, Harald Krejci, Bettina Steinbrügge;21er Haus, Wien, 2012
Exh. Cat. Liam Gillick and Lawrence Weiner: A Syntax of Dependency, Mousse Publishing, 2011
Collection Vanmoerkerke, Rispoli Books Brussels, 2011
Monthly Art Magazine Bijutsu Techo, vol. 63 no. 950, April 2011
The Art of not Making – A new Artist / Artisan Relationship, Micheal Petry, Thames & Hudson, 2011, p. 84-85
2011.04, vol 63, NO 950, BT
Exh. Cat., Martin, Michael Craig, ART - curated by Michael Craig Martin, Galerie Haas & Fuchs, p. 27-28 (pict.),
2010
Chroma: Design, Architecture & Art in Color, (B. Glasner, P. Schmidt), Birkhäuser, Basel – Boston – Berlin, 2010
The Shadow Files, Apple’s Billiingual Journal, October 2010
Germany’s Contribution to the Venice Biennale 1895-2009, DuMont, 2009
Sven Lütticken, Idols of the Market, Sternberg Press, 2009
Utopics: Systems and Landmarks, in collaboration with LUMA Stiftung, JRP Ringier, 2009
dardo magazine, n°11, (editorial Liam Gillick), jun.-sep. 2009
A Prior Magazine, Genf, 2009
e-flux journal reader, Sternberg, Berlin, 2009
Theanyspacewhatever, Guggenheim Museum, New York, 2008
Art editions 6, Edition Schellmann, 2008
TheVincentAward2008, Stedeljik Museum, Amsterdam, 2008
Exh. Cat. „Airs de paris.“ Centre Pompidou, Paris (2007): p27, 52, 106, 108, 110, 114
Kunst / Art, Lufthansa Aviation Center, Revolver – Archiv für aktuelle Kunst, 2007
Art and Architecture in Discussion, (editing and cover design Liam Gillick), SpringerWienNewYorck, 2007
printed project: I can’t work like this, Visual Artists Ireland, Issue: 06, Dublin, 2007
Exh. Cat. palermo, Kunsthalle Düsseldorf und Kunstverein für die Rheinlande und Westfalen, Dumont, 2007
Exh. Cat. „Projektion“, Kunstmuseum Luzern, Lentos Kunstmuseum Linz, (2006): pp.78,79,82,83
Faster! Bigger! Better!, ZKM, Museum für Neue Kunst, Karlsruhe, 2006
First Works by 362 Artists, Richer, Francesca (ed.), Thames & Hudson, London, 2006
Modus, Neue Kunst Halle St. Gallen, 2006.
All Hawaii Entrées/Lunar Reggea, Irish Museum of Moden Art, Dublin, 2006
A.C.A.D.E.M.Y, Revolver Verlag, Frankfurt, 2006
Abstract Art Now. Strictly Geometrical?, Wilhelm-Hack-Museum, Ludwigshafen, 2006
Site 9/1, a hausammeer production, September 2006
Broken Surface, Sabine Knust Matthias Kunz Editions, München, 2006
Stage of Life – Rhetorics of Emotion, Städtische Galerie im Lenbachhaus München, Wlather König, 2006
Eye on Europe: Prints, Books & Multiples, 1960 to now, New Yorck, MoMA, 2006
Exh. Cat. Schnittpunkt – Kunst und Kleid, Textilmuseum St. Gallen, 2006
Tate Triennale 2006, Tate Publications, London, 2006
Magnetic Promenades and other Sculpture Parks, Studio Voltaire, London, 2006
Extreme Abstraction, Albright-Knox Art Gallery, 2005
Magasin 1986 – 2006, ed. Yves Aupetitallot, JPRlRingier, Zürich, 2005
Version 0.6, Colouring Book, onestarpress, 2005
Rundlederwelten, “Anstoss” spezial number 3, October – December 2005, Martin Gropius Bau, Berlin, 2005
Des Deux Cotés Du Rhin, Snoeck, Cologne, 2005
Art at 30 St Mary Axe, Swiss Reinsurance Company, Zurich, 2005
EVN 95-05, MUMOK, Vienna, 2005
Utopia of Flows, M/M (Paris), Frankfurter Kunstverein, 2005
Go Between, Bregenzer Kunstverein Magazin 4, Bregenz, 2005
EN/OF 001-030, Museum Kurhaus Kleve, Kleve, 2005

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Place, T. Dean & J. Millar, Thames & Hudson, London, 2005
Works from Collezione Sandretto Sandretto Re Rebaudengo, Skira Editore, Milano, 2005
Singular Forms (Sometimes Repeated): Art from 1951 to the Present, Guggenheim Museum, New York, 2004
Liam Gillick & Philippe Parreno, (Rider): Law and Creativity, (exh. booklet) Lunds Konsthall, Lund, 2004
Abstraction Now, ed. Norbert Pfaffenbichler and Sandro Droschl, Künstlerhaus Wien, Vienna, 2004
100 Artists See God, Independent Curators International, New York, 2004
Artists Space - Establishing Shot, New York, 2004
Jens Hoffmann, The next documenta should be curated by an artist, New York, e-flux/Revolver, 2004
Bourriaud, Nicolas, Postproduction, Collection Documents sur l’art, Dijon, 2003
Adorno: The Possibility of the Impossible, Frankfurth, Sternberg Press, 2003
Metronome 8b., The Queel, London, 2002
100 Reviews, London: Alberta Press, 2002
Magazin 6, Salzburger Kunstverein, Salzburg, 2002
The Producers: Contemporary Curators in Conversation, Baltic Centre, Gateshead, 2002
The Wood Way, Whitechapel Art Gallery, London, 2002
Conceptual Art, London, 2002: Phaidon
Art Since 1960, London, 2002: Thames & Hudson
EVN Sammlung. Ankäufe 2000-2002, EVN AG, Vienna, 2002
Exh. Cat. bridge the gap, CCA Kitakyushu/Japan u. Verlag W. König, Cologne, ed. Miyake
Akiko u. Hans Ulrich Obrist, Cologne, Kitakyushu/Japan, 2002
Exh. Cat. Dark Spring, Ursula Blickle Stiftung, Kraichtal 2002
Aussendienst, Kunstprojekte in öffentlichen Räumen Hamburgs, Kulturbehörde & Kunstverein in
Hamburg, modo Verlag, 2002
Exh. Cat. Passenger, Astrup Fearnley Museum of Modern Art, 2002
Century City, Tate, London, 2001
Museen ohne Zukunft, MAK, Vienna, 2001
Mutations, Centre d’Architecture, Bordeaux, 2001
More Works about Buildings and Food, Hangar K7, Oeiras, 2001
Histoire de cœur: collection Michel Poitevin, Fondation Guerlain, Les Mesnuls, 2001
Nothing, London, 2001
After Work, cat. 4th Werkleitz Biennale, Tornitz, 2001
2nd Berlin Biennale, Berlin, 2001
Annlee You Proposes, Tate Britain, London, 2001
Everything Can be Different, ICI, New York, 2001
Neue Kunstkritik, New York: Lukas & Sternberg 2001
Yokohama Triennale 2001, Yokohama, 2001
Bridge the Gape?, ed. by Hans Ulrich Obrist and Akiko Miyake, Kitakyushu andCologne (cover design by Liam Gillick), 2001
Exh. Cat. Laboratorium, Antwerpen Open Roomade, DuMont, 2001
Exh. Cat Open Plan P3 – the marathon, Alphadelta Gallery & Artio Gallery, 2001
Exh. Cat. Night on Earth, Städtische Austellungshalle Am Hawerkamp, Münster, 2001
Parkett 61, Parkett Publishers, Zürich, 2001
DIRE AIDS. Arte nell’epoca dell’AIDS, Promotrice delle Belle Arti, Torino, 2000
29th International Film Festival, Rotterdam, Rotterdam, 2000
British Art Show 5, Touring Exhibition, Edinburgh, 2000
What If, Moderna Museet, Stockholm, 2000
Intelligence, Tate Gallery, London, 2000
Protest and Survive, Whitechapel Gallery, London, 2000
Fresh Cream, London: Phaidon, 2000
Den Stora Skalan, Statens Konstrad, Kalmar, 2000
Centre d’Art Contemporain, Fri-Art Kunsthalle, Fribourg, 2000
UK Maximum Diversity, Galerie Krinzinger, Vienna
Pl@ytimes, Ecole du Magasin, Grenoble
Weather Everything, Galerie für Zeitgenössische Kunst, Leipzig, Cantz, 1999
Independent Spaces, JRP éditions, Genf, 1999
Servicio Publico, Ediciones Universidad de Salamanca, Barcelona, 1999
Art at the Turn of the Millennium, Burkhard Riemschneider Uta Grosenick (Hg.), Cologne, 1999
Seven Wonders of the World, Book Works, London, 1999

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Designs for a four storey building, Open City, New York, 1999
Calender, Kunsthaus Glarus, Glarus, 1999
La Capitale, Centre Regionale d’Art Contemporain, Sète, 1999
La Memoire, The French Academy in Rome, Rome, 1999
The Space Here is Everywhere, Villa Merkel, Esslingen, 1999
Habitat Art Club, Habitat, London, 1999
5 or 6, New York, 1999
Hospital, Sarah Morris, Galerie Max Hetzler, Berlin, 1998
Artist/Author: Contemporary Artist’s Books (ed. Cornelia Lauf/Clive Phillpot), American
Federation of Arts , New York, 1998
Enter: KünstlerInnen, Publikum und Institution, ed. Barbara Steiner, Kunstmuseum, Luzern, 1998
Arena Sport & Kunst Zeitschrift, Kulturreferat, Munich, 1998
Art from Britain, Sammlung Goetz, Hamburg, 1998
Interactive, An Exhibition of Contemporary British Sculpture, Amerada Hess, London, 1998
L’île de discussion/le grand centre de confé rence, Villa Arson/Les presses du réel, Nice/Dijon, 1998
Mise en Scène, Grazer Kunstverein, Graz, 1998
Minimal-Maximal, Neues Museum Weserburg, Bremen, 1998
X Mal Documenta X, Kunsthochschule der Universität, Gesamthochschule, Kassel, 1998
Dominique Gonzalez-Foerster, Pierre Huyghe, Philippe Parreno, Paris, ARC,
Musee d’Art Moderne de la Ville de Paris, 1998
Cream, Lonon, Phaidon Press, 1998
Eric Troncy, Les presses du réel, Paris, 1998
Absurd, Self Service, Paris, 1998
Dijon/Le Consortium.coll, Les presses du réel/Centre Georges
Pompidou, Dijon/Paris, 1998
Zing Magazine, Volume 2, Fall, 1998Øjeblikket, The Meaning of Site, Copenhagen, 1998
Innerscapes (edited by Maurizio Pellegrin), Contemporanea, Trieste, 1998
Des Livres d'Artistes, L'Ecole d'Art de Grenoble, Grenoble,1997
Ajar, Galleri F15, Oslo,1997
Enter: Audience, Artist, Institution, Kunstmuseum, Luzern,1997
documenta X, Politics and Poetics, Kassel, Cantz,1997
Short Guide, documenta X, Cantz, Kassel, 1997
Unbuilt Worlds: Unrealised Artists Projects, Münster, Cantz,1997
Erasme est en retard, (translated by Philippe Parreno), Dijon, Les Presses du Réel,1997
McNamara Papers, Erasmus and Ibuka! realisations The What If ? Scenarios, Dijon, Les Presses du Réel,1997
Kunst. . . Arbeit, Suttgart, SudWest LB/Cantz,1997
Co-operators, Southampton City Art Gallery, Southampton,1996
Traffic, CAPC, Bordeaux,1996
Do It, Kjarvalsstadir, Reykjavik,1996
Every Day Holiday, Grenoble Le Magasin,1996
Nach Weimar, Weimar, Cantz,1996
Herausgeber, Kunstraum Wien, Vienna,1996
Escape Attempts, Globe, Copenhagen,1996
Life/ Live, Musée de la Ville de Paris, Paris,1996
Book Works - A partial history and source book, London, Book Works,1996
Lost For Words, London, Toby Mott,1996
Found Footage, Cologne, Tanja Grunert & Klemens Gasser,1996
A Scattering Matrix, Los Angeles, Richard Heller Gallery,1996
Echoes - Contemporary Art at the age of endless conclusions, New York, The Monacelli Press, 1996
Möbius Strip, Basilico Fine Arts, New York, 1995
Faction, Royal Danish Academy of Arts, Copenhagen, 1995
Lost Paradise, (ed. Barbara Steiner) Vienna/Stuttgart, Oktagen, 1995
Stoppage (CD), CCC/Villa Arson), Nice, Tours and London, 1995
Grim, (project with Douglas Gordon), Parkett, Summer, 1995
Collection fin XX, FRAC Poitou Charentes, Angouleme, 1995
We Are Medi(eval), (with Angela Bulloch), Portikus, Frankfurt, 1995
Camera Austria, Forum Stadtpark, Graz, 1995

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New Art From Britain, Museum Stzuki, Lodz, 1995
Surface de reperation, FRAC Bourgogne, Dijon, 1995
Brilliant, Walker Art Centre, Minneapolis, 1995
Prime Time #1, Le Consortium, Dijon, 1995
Don’t Look Now, Threadwaxing Space, New York, 1994
Backstage, Kunstmuseum Luzern, Luzern, 1994
Public Domain, Centro’ Santa Monica, Barcelona, 1994
Mechanical Reproduction, Galerie Van Gelder, Amsterdam, 1994
Other Men’s Flowers, FN/Booth-Clibborn, London, 1994
McNamara, project for Nummer, Cologne, 1994
McNamara, project for New Observations, New York, 1994
Liam Gets a Serial Killer Annoyed, project for Art & Text, Sydney, 1994
Sunshine, Jahresring, Cologne, 1994
Like Sure, Or Not, project for Palleten, Stockholm, 1994
The Institute of Cultural Anxiety, ICA, London, 1994
Documentario 2, Milan, 1993
Gesellschaft fur Aktuelle Kunst, Bremen, 1993
Travelogue, Hochschule fur Angewandte Kunst, Vienna, 1993
Fotofeis, International Photography Festival, Glasgow, 1993
Love is no Four Letter Word, Lothar Hempel, Esther Schipper, Cologne, 1993
Backstage, Kunstverein in Hamburg, Hamburg, 1993
Ideal Place, Nevers, Ed. Eric Troncy, 1993
Molteplici Culture, Rome, 1992
Etats Specifiques, Le Havre, 1992
12 British Artists, Barbara Gladstone/Stein Gladstone, New York, 1992
240 Minutens, Georg Graw & Lothar Hempel, Cologne, 1992
Instructions, Gio' Marconi, Milan, 1992
ON, London, Interim Art, 1992
Documents, London and Nevers: One-Off Press and A.P.A.C., 1991
Technique Anglaise, London, Thames & Hudson, 1991
No Man’s Time, Villa Arson, Nice, 1991
Gazette, Galerie Esther Schipper, Cologne, 1991
Texts by Liam Gillick
Gillick, Liam, “The Difference Engine”, in: Artforum International, May 2008, p. 322-325.
Gillick, Liam. “Nach Blinky Palermo,” in Küper, Susanne, Ulrike Groos and Vanessa Joan Müller (ed.). Palermo (exh.
cat.) Kunsthalle Düsseldorf, Kunstverein für die Rheinlande und Westfalen, Dumont Cologne, 2007, pp.171-172.
Gillick, Liam, „Selected Transcription from Talk at UN Plaze, Berlin 2006“, Printed Project, issue 06, February 2007,
pp. 41-47.
Gillick, Liam, „The Winter School. A Fiction Towards Documenta X“, Printed Project, issue 06, February 2007, pp.
38-40.
Gillick, Liam, „Vegetables“, Artforum, March 2007, p. 265
Gillick, Liam, (Response to Claire Bishop), October 115, Winter 2006, pp. 95-107
Gillick, Liam, „How has art changed?: Survey“, Frieze, 94, October 2005, p. 164
Gillick, Liam and Parreno, Philippe Talk About “Briannnnnn And Ferryyyyyy“, Artforum, February 2005, p. 144145
Gillick, Liam, „What is the Object?“, Frieze, 82, April 2004, pp. 70-71
Gillick, Liam, „Untitled Statement“, The Next Documenta Should Be Curated by an Artist, ed. by Jens Hoffmann,Frankfurt a.M., 2004, pp. 38-39
Gillick, Liam, "Ugo Rondinone", Contemporary, 58, 2003, pp. 103-105
Gillick, Liam et.al.,"100 Reviews (3)", Alberta Press, London 2002
Gillick, Liam, "Literally No Place", Tank, 3, 2002
Gillick, Liam, "Literally No Place-An Introduction," Parkett, 61, 2001, pp. 56-63
Gillick, Liam, "Achtung, diese Stadt wird normal", Frankfurter Allgemeine Zeitung, BerlinerSeiten, 27.3.2000, p. B1
Gillick, Liam, and Gordon, Douglas"Sailing Alone Around The World", Parkett, 49/1997
Gillick, Liam, "The Corruption of Time (Looking Back at Future Art)", Flash Art, May/June 1996

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Gillick, Liam, Der Standard, 2.5.1996
Gillick, Liam, "The Institute of Cultural Anxiety", Blueprint 1995
Gillick, Liam, "When Are You Leaving? ", Art & Design, May 1995
Gillick, Liam, "Künstlerporträts", Neue Bildende Kunst, June-August 1995
Gillick, Liam/Lum, Ken, "Global Art", Flash Art, January/February 1994
Gillick, Liam, "A Guide to Video Conferencing Systems and the Role of the Building
Worker in Relation to the Contemporary Art Exhibition (Backstage) ", Documents, 4, October 1993
Gillick, Liam/Bond, Henry, "Press Kitsch", Flash Art 165, July/August 1992
Gillick, Liam, "The Placebo Effect", Arts, May 1991
Selected Articles and Reviews
Roberts, Bill, “Burnout: Liam Gillick’s Post-Fordist Aesthetics”, in: Art History, December 2012
“Other People and Their Ideas”, Interview with Tom Eccles, Art Review, November 2012
Meade, Fionn, “Liam Gillick: Spaces of Critical Exchange”, Mousse, No. 33, p. 222-231
Daniel Kunitz, “Liam Gillick”, Modern Painters, June 2012
William Corwin, “Interview with Liam Gillick”, Brooklyn Rail, May
Hans Ulrich Obrist, “Life brought to Art”, Financial Times, Aug 17
Iratxe Astui, “Jóvenes de Gernika inaugurarán la Fábrica de la Creación en diciembre”, El Correo, Sept 19“Una muestra en el Guggenheim reflexiona sobre la arquitectura habitada”, El Mundo, Sept 19, 2012
Ben Pier, “Gillick and Weiner Face To Face”, musemagazine, Sept 2012
Aran, Uri, “Top Ten”, In: Artforum, January 2012, p. 199
Dieter Roelstraete, “Word Play”, frieze, May 2011, p 98-103
Tom Morton, “Modern British Sculpture – Royal Acdemy of Arts”, frieze, April 2011Friedemann Becker, “Review: Liam Gillick: “1848!!!” in der Galerie Esther Schipper vom 12. Juni bis 31. August
2010”, www. Kunst-magazin.de, 29.09.2010
Liam Gillick - 1848!!!, Speed, Mitch in: Frieze, Issue 134, October 2010, p. 238 (pict.)
Patrick, Martin, Unfinished Filliou: On the Fluxus Ethos and the Origins of Relational Aesthetics, in: Art Journal
Spring-Summer, 2010, p.44-61, p. 58 (pict.)
Wirth, Heidrun, Nur die Katze kennt die Zukunft, in: Kölnische Rundschau online, March 2010
Ein Spaziergang mit Liam Gillick, in: ksta.de - Kölner Stadtanzeiger, March 2010
Liam Gillick: Ein langer Spaziergang… zwei kurze Stege…, in: www.art-in.de, April 2010
Bosetti, Petra, Liam Gillick, Kunsthalle Bonn, in: www.art-magazin.de, April 2010
Liam Gillick: Ein langer Spaziergang… zwei kurze Stege…, in: www.SculptureNetwork.org, may 2010
Ritter, Marion, Liam Gillick: Ein langer Spaziergang… zwei kurze Stege…, in: Stadt Revue Kölnmagazin, p. 63(pict), May 2010
Liam Gillick, in: Kunst Bulletin, p. 62, June 2010
Schröer, Carl Friedrich, Endstation Kommunikation, Kunstzeitung, Nr. 166, Juni 2010
Leading Representative of Conceptual Art, Liam Gillick, opens exhibition in Bonn, in: www.artdaily.org, 2010
Elms, E. Anthony, You couldn’t describe the gaps as windows – Liam Gillick visits Chicago, in: Art Papers,
May/June 2010, p. 34-41 (pict.)
Sean Keller, Liam Gillick – Museum of Contemporary Art, Chicago, in: Artforum, 04/2010, p. 188-189
Catrin Lorch, Wie das Licht im Kühlschrank, in: Süddeutsche Zeitung, Nr. 87, p. 11, 04/2010
Swantje Karich, Der Pädagoge, in: Frankfurter Allgemeine Zeitung, Nr. 84, pp. 27, 04/2010
Verena Straub, Liam Gillick. Ein langer Spaziergang ... Zwei kurze Stege - KAH, Bonn, in: Art-in.de, 04/2010
Karcher, Eva, Gillick, oder wie er die Welt sieht, in: Art Investor N° 06/2009, pp. 74-79.
McDonough, Tom, Liam's (not) home, in: Texte zur Kunst N° 75 / September 2009, pp. 190-195.
Rosenau, Mirja, Neue deutsche Freiheit, in: Art Magazin, N° 6, June 2009, pp. 34-37.
Tröster, Christian, Fasziniert von den Momenten des Scheiterns, in: Häuser N° 3 / 2009, pp. 112-115.
Recuperating Modernism – Liam Gillick interviewed by John Slyce, Art Monthly, March 2009, p. 1-6.
Liebs, Holger: “Gepinkelt wird bei den Briten”. Interview mit Liam Gillick, in: Süddeutsche
Zeitung, November 14, 2008, p. 15.
Richter, Stefanie: “Als würde er einen Laden renovieren”, in: Gala N°42/2008, p. 88-89.
Oliv, Freia, “Mit Deutschland arbeiten”, in: Münchner Merkur, 26.09.2008.
De Righi, Roberta, “Salz in der globalen Suppe”, in: Abendzeitung München, 25.09.2008.
Pirich, Carolin, “Kunst aus Raum, Klang, Bild und Mensch”, in: dradio.de, 24.09.2008.
Oustrow, Saul, Liam Gillick, in: Art in America, September 2008, pp. 157-158, pict.

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Borcherdt, Gesine, “Total daneben”, in: Monopol Juli/August 2008, p. 26.
Kitamura, Katie, “Liam Gillick”, in: Frieze, Issue 114, April 2008, p. 175.
Blom, Ina, “Die Logik des Trailers”, in: Texte zur Kunst, Heft 69, März 2008, pp. 112-123.
Sven Lütticken, “Leben mit Abstraktion”, in: in: Texte zur Kunst, Heft 69, März 2008, p. 46-59“Publish and be damned,” online: www.artcal.net/event/view/6/6406: February 18, 2008
Charlesworth, J.J. “Liam Gillick. Now you see me, Now you don’t,” in ArtReview(February 2008, Issue 19): pp. 52 – 57.
Notter, Eveline, Liam Gillick, in: Art Press N° 345, May 2008, p. 84.
Kwakkenbos, Lars, “Catastrofe in het museum”, in: De Standaard, 13.03.2008, p. 82.
Baumann, Daniel und Gebetsroither, Ines, “Liam Gillick: Three perspectives and a short scenario”, in: Spike, N°15,
2008
Van Bogaert, Pieter, “ Een Onwennige Leegte”, in: <H>ART, 14.02.2008.
Wesseling, Janneke, Dreigende leegte, in: NRC Handelsblad, February 1, 2008, p. 26
Voss, Julia. “Ein Ausblick auf die Zukunft der Skulptur,” in Frankfurter Allgemeine Zeitung (January 29, 2008.
No.24): p. 37.
Szczesniak, Paulina. “Die etwas andere Retrospektive,” in Tagesanzeiger (January 27, 2008).
Haberer, Lilian. “Liam Gillick. Witte de With, Rotterdam,” in Artforum International, January 2008, XLVI, No.5, pp.
126-127.
Mebius, Bert, Ik ben niet bang voor onduidelijkheid - Interview met Liam Gillick, in: de Groene Amsterdammer,
January 25, 2008, p. 28.
Van Rijn, Door Ilse, “Recensies: Liam Gillick”, in: Metropolis M, N° 2, 2008, p. 77-79
Schmitz, Edgar, “ Liam Gillick: Three Perspectives and a Short Scenario”, in: Kunstforum, Band 190, 2008, p. 386
Mack, Gerhard, “Meister der Täuschung”, in: art, N°1 2008, p. 85.
“Wenn bei Gillick die rote Sonne an der Wand untergeht,“ (preview of the exhibition at the Witte de With, Rotterdam,
2008), Frankfurter Allgemeine Zeitung (December 28, 2007): p. 37.
Kobald, Christian. “Liam Gillick, Louis Althusser, “How to Read Marx’s Capital“ (E-Mail
Konversation mit Christian Kobald) Spike, Art Quarterly (No.13 Herbst 2007): pp. 92, 95.
Verhagen, Marcus. “Conceptual Perspex,” in New Left Review (No. 46, July/August 2007): pp. 154 – 160.
Wulff, Friederike.“Liam Gillick.“ Artinvestor, (April 2007): p. 75.
Van Parys, Yoann. “Passage á lácte, Liam Gillick.“ (Interview) Flux News (April/May/June 2007): p. 4.
Obrist, Hans Ulrich, „Liam Gillick“ (interview), Domus, October 2006, pp. 110-117
de Brugerolle, Marie, „Liam Gillick“, Flash Art No. 246, January-February 2006, pict. p. 110.
„Multicolor“, Neo 2, March, 2006.
Glover, Michael, „Best of British Lights up the Tate“, The Times, Feb. 25., 2006.
Searle, Adrian, „Foot Fetish“, The Guardian, April 3, 2006.
Johnson, Ken, „Charting degrees of separation and connection in the art world“, New York Times, April 7, 2006.
Bollen, Peter, „Artists in Residence“, New York Times, April 16, 2006.
Chaplin, Julia, „Art Blooms in the California Desert“, New York Times, April 21, 2006.
Barrett, David, „Tate Triennale“, Art Monthly, May, 2006.
Saltz, Jerry, „The Sublime is Us“, Village Voice, June 29, 2006.
Smith, Roberta, „Grey Flags“, New York Times, July 14, 2006.
Obrist, Hans Ulrich, „A community of solitary souls“, Domus, May, 2006.
Fox, Dan, „Thank you for the music: London Beat“, Frieze 102, 2006.
Palmerton, Elwyn, „Grey Flags, The Sculpture Center“, Frieze 102, 2006.
„The Artists’ Artists“, Artforum, December 2005, p. 108.
Smith, Roberta, „Liam Gillick“, The New York Times, December 9, 2005.
Hirsch, Faye, „Abstrac Generations“, Art in America, October 2005, pp. 123 – 129.
Pécoil, Vincent, „Une histoire à l’envers/A reverse story“, interview with Liam Gillick, 02, Hiver 2005, pp. 22-25.
Johnson, Ken, The New Season Art: From Pieter Claesz to Pixar, The New York Times,
September 11, 2005, p. AR 98.
Charlie Finch, Buffalo Soldier, www.artnet.com, August 2005.
Emily Weiner, Painting the Town, Time Out New York, August 18-22, 2005, p. 64.
Richard Huntington, To The Extreme, The Buffalo News, July 15-22, 2005. p. 20-21.
Ken Johnson, Everyewhere’s the Same: Nowhere in Particular, The New York Times, June 2, 2005.
Michael Gibbs, Populism, Art Monthly, June 2005.
Mark Owens, Liam Gillick, The Blow Up Magazine, Spring/Summer 2005, p. 28-36.
Farquharson, Alex, “Is The Pen Still Mightier“, Frieze, Issue 92, June/ July/ August 2005, pp. 118-119.
Elisabeth Kley, “Goodbye Fourteenth Street: A Review,” ARTnews, May 2005, p. 146.

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Alex Coles, Liam Gillick and the Kenneth Noland Scenario, Parachute 4/5/6, 2005.
Hugh Pearman, The Government Building That Isn’t, The Times, February 20, 2005.
Nigel Coates, There’s no Place Like the Home Office, Independent on Sunday, March 6, 2005.
Schumacher, Mary Louise, Artist Finds the Right Works for Museum Installation, Milwaukee Journal Sentinel,
February 24, 2005.
Allen, Jennifer, „1000 Words: Liam Gillick and Philippe Parreno“, Artforum, 43, 6, Februar 2005, pp. 144-145.
Liam Gillick Palais de Tokyo, site de création contemporaine: Time Out This Week, Time Out Paris, February 2005.
Philippe Dagen, Liam Gillick ou les Limites de L’Engagement Politique en Art, Le Monde Paris, February 24, 2005.
Nicole Duault, Les paillettes de L’utopiste Liam Gillick, Le Journal du Dimanche, January 30, 2005.
Svenle, Elna, „Konstnärliga Regelbrott“, 10.1.2005, p. C5.
B., Ch., „Volvo, pour la vie“, Technikart, February 2005.
Thorel, Benjamin, „Never mind the Gillick“, Art 21, 1, Jan./Feb. 2005, pp. 41-45.
Moulène, Claire, „tête chercheuse“, Les Inrockuptibles, 26.1.-1.2.2005, pp. 66-67.
Pontégnie, Anne, „Liam Gillick, Galerie Micheline Szwajcer“, Frog, printemps/été, 2005, pp. 74-75.
Jones, Ronald, "Adorno: The Possibility of the Impossible", Artforum, 42, 5, January 2004, p. 150.
Scholze, Britta, "Unerwartete Begegnungen. Die Ausstellung 'Adorno. Die Möglichkeit desUnmöglichen' im Frankfurter Kunstverein", Texte zur Kunst, 53, März 2004, pp. 182-185.
Kennedy, Randy, "Minimalist Oasis in a Bustling Manhattan", New York Times, 23.4.2004.
Barachon, Charles, „Liam Gillick“, Technikart, Mai 2004.
„Telling Histories. Archiv und drei Fallstudien. Mit Beiträgen von Mabe Bethônico und Liam
Gillick“, Drucksache Spring 04, Kunstverein München, Munich 2004, pp. 16-23.
Stahre, Ulrika, „Vi hejar alltid på råttan“, Aftonbladet, 28.12.2004, p. 5.
Ebeling, Knut, „Bauen, Wohnen, Denken“, Der Tagesspiegel, 18.1.2003, p. 26.
Bard, Elisabeth, „The Road to Digital Heaven“, Contemporary, 47/48, 2003, pp. 44-45.
Stange, Raimar, „Rock on: verspielte Situationen“, Interview mit Liam Gillick, ders., Zurück in die
Kunst, Hamburg 2003, pp. 112-118.
Werneburg, Brigitte, “Der Meister der korrektiven Geste“, taz, 22.2.2003, p. 33.
Garrison, Geoff, „Being an Equal Distance Apart Everywhere. Liam Gillick’s parallel exhibitions at Galerie Max
Hetzler and at Schipper & Krome, Berlin“, the thing.net/reviews, 11.3.2003.
Hoffmann, Jens, "Preview Berlin – Taking A Break From Taking A Break", ArtReview, Febr.Issue, 2003.
Lamm, April Elisabeth, „Liam Gillick“, Tema Celeste, 97, 2003, pp. 74-75.
Stallabrass, Julian, "Literally No Place by Liam Gillick", Sharp Talk 4, online-Publikation, 2003.
Starling, Anna (ed.), Frieze Art Fair Yearbook 2003-4, London 2003.
Lapp, Axel, „Abstraction Now“, Art Monthly, 270, October 2003, pp. 32-33.
Stemmrich, Gregor, „Künstlerische Konzepte der Historisierung und Kontextualisierung der
Minimal Art und Conceptual Art (bei Heimo Zobernig und Liam Gillick)“, Cat. Conceptualisms in
Musik, Kunst und Film, hrsg. von Christoph Metzger, Akademie der Künste, Berlin 2003, pp. 41-52.
Lorch, Catrin, "Adorno", springerin, Vienna, 9, 4, Winter 2003.
Schmuckli, Claudia, "projects 79: liam gillick: literally", MoMA-Brochure, New York, 2003.
Schmitz, Edgar, “Liam Gillicks Szenarien”, in: Kunstforum, N°163, 2003.
Reynolds, Nigel, "Fog, chicken and porn: it’s Turner Prize time again", The Weekly Telegraph, 5.6.2002.
Laithwaite, Andy, "Goldsmiths‘ students hope for Turner Prie", News Shopper, 12.6.2002.
Harris, Mark, "Liam Gillick/Hélio Oitica", Art Monthly, 257, June 2002, pp. 24-25.
Herbert, Martin, "Liam Gillick", ArtReview, pp. 52-53.
Kent, Sarah, "Dumb and dumber", Time Out, 5.6.2002.
Chrisafis, Angelique, "No painters among Turner prize nominees", The Guardian.
Searle, Adrian, "New Blood from a wary generation", The Guardian.
"News", Flash Art, May June 2002, p. 72.
"No Ghost Just a Shell", Accrochages, 41, October 2002.
"Annlee steigt in den Kunsthimmel auf", Schweizer Illustrierte, 34, 19.8.2002.
"Hingehen", Sonntags Zeitung, 18.8.2002.
"No Ghost Just a Shell", NZZ Ticket, 34, August 2002.
"Das Mädchen ‚Annlee‘ und Henry Dargers ‚Vivian Girls‘", Neue Luzerner Zeitung, 29.8.2002.
Sailer, Alexia, "Multimediales Manga-Märchen", Südkurier, 28.8.2002.
Werner, David, "Kunstmuse Annlee ist virtuell", Blick, 28.8.2002.
Von Burg, Dominique, "Die Identität eine digitalen Figur", Zürichsee-Zeitung, 17.9.2002.
"Kunsthalle Zürich: ‚No Ghost Just a Shell‘", Schweizerische Rundschau für Medizin (Praxis), 37, 11.9.2002.
Steiner, Urs, "Göre ohne Seele“, Neue Zürcher Zeitung, 03.09.2002.

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"Space Invader", The Times Educational Supplement, 25.10.2002, p. 8.
Gibbons, Fiachra, "Air sicknes overtakes porn in Turner stakes", The Guardian, 30.10.2002, p. 7.
Searle, Adrian, "Badly drawn words", The Guardian, 30.10.2002, pp. 12-13.
Campbell-Johnston, Rachel, „The People’s Prize“, The Times, 30.10.2002, pp. 13-14.
Alberge, Dalya, „‘Rubik’s art‘ lambasted by Turner Prize critic“, The Times, 30.10.2002, p. 10.
Dorment, Richard, "Why the Tate can’t win", The Daily Telegraph, 30.10.2002, p. 23.
Reynolds, Nigel, "Turner Prize exhibition makes art a dirty word", The Daily Telegraph, 30.10.2002, p. 9.
Sladen, Mark, interview with Liam Gillick, "Artworker of the Week #7", KultureFlash, 25, 27.11.2002.
Von Burg, Dominique, "Philippe Parreno und Pierre Huyghe in der Kunsthalle", Kunst-Bulletin, 10/2002, p. 55.
Renton, Andrew, "How to behave in a gallery", Evening Standard, 30.4.2002, p. 43.
Campbell-Johnston, Rachel, „Liam Gillick/Hélio Oiticica“, The Times, 18.5.2002.
Klier, Melanie, "Lesen im Meer der Liebe", Münchner Merkur, 6.8.2002.
Farquharson, Alex, "Near Favorite", Artforum, 51, 1, September 2002, p. 90.
Odeman, Beaty, "Hot Florida Style", InCircle Entrée, Fall 2002.
Caoimhin Mac Giolla Leith, "Liam Gillick", Artforum, 51, 2, October 2002.
"Literally No Place", Tema Celeste, September-October 2002.
Scmitz, Edgar, "Hintergrund ist überall", Texte zur Kunst, 12, 47, pp. 180-182.
Farquharson, Alex, in conversation with Liam Gillick, "Applied Art", Untitled, 28, Summer 2002, pp. 20-25.
Scrivener, Adam, "Liam Gillick", Untitled, 28, Summer 2002.
"New image for modern artists", Hackney Gazette, 2.5.2002.
Searle, Adrian, "Road to Nowhere", The Guardian, 14.5.2002, pp. 12-13.
Thorncroft, Antony, "Year of the thritysomethings", Financial Times, 31.5.2002.
Alberge, Dalya, "Turner jury sees art in the most ordinary places", The Times, 31.5.2002, p. 9.
Exley, Roy, "Liam Gillick. Renovation Filter: past and near future (review)", art press, 264, January 2001, p. 72-73.
Bonacossa, Ilaria, “Liam Gillick“, Tema Celeste, 83, January-February 2001, p. 95.
Stemmrich, Gregor, "Liam Gillick - 'A Debate about Debate'," Parkett, 61, 2001, pp. 64-75.
Wollen, Peter, "Thought Experiments," Parkett, 61, 2001, pp. 76-91.
Trülzsch, Sassa, "Liam Gillick", Kunstforum, Bd. 155, Juni-Juli 2001, p. 188-193.
Rod, Arve, "Samvittighetens mellomrom", Billedkunst, 6, p. 2.
"Kunst-Szenen. Spekulative Architektur - Liam Gillick", Neue Zürcher Zeitung, 31.01.2001, p. 44.
"L'art du mystère", Profil Femme, 02/2001, p. 16.
0brist, Hans Ulrich/Vanderlinden, Barbara (eds.), Laboratorium, o.O., 2001, pp. 85-93, 322-323.
Schmidt-Wulffen, Stephan, "Gillicks Konjunktiv", in: Ders., Perfektimperfekt, Freiburg 2001, pp. 246-257.
Heiser, Jörg, "Discontent", Frieze, issue 51, March/April 2000, p. 82-85.
Berg, Ronald, "Demokratie aus dem Computer", Zitty, 7/2000, p. 56.
Sorrento, Aureliana, "Ein bisschen Zukunft ist immer", Die Tageszeitung, Berlin, 7.4.2000.
Allerholm, Milou, "Form vävs ihop med politik", Dagens Nyheter, 21.3.2000, p. B3.
Naß, Beate, "Plexiglas in der Decke", Westfälischer Anzeiger, 22.4.2000.
Jennen, Manuel, "Ein Pferd ist ein Pferd ist ein Pferd", Münsteraner Zeitung, 25.3.2000.
Lütkemeyer, Markus, "Ratespiel aus Kunststoff", GIG, 05/2000.
Stange, Raimar, "Liam Gillick“, artist Kunstmagazin, Nr. 44, 3/2000, p. 18-21.
Siepen, Nicolas, “Der Kern zerstreut sich”, in: Frankfurter Allgemeine Zeitung, Nr. 79, 03.04.2000.
Mead, Andrew, "Called into question", the architect’s journal, 9.11.2000, p. 44.
Musgrave, David, "Liam Gillick", Art Monthly, 241/11.00, p. 33-34.
Cowan, Amber, "Liam Gillick", The Times, 7.10.2000, p. 24.
Wilson, Michael, "Liam Gillick", Untitled, Autumn/Winter 2000, p. 36.
"Salon 3", Flash Art, January/February 1999.
Schütz, Heinz, "Steirischer Herbst ‘98", Kunstforum, Jan/Feb. 1999, 143.
Cotter, Holland, "Changes Aside", New York Times, February 12, 1999.
Smith, Roberta, "Continued Investigation of the Relevance of Astraction", New York Times, Feb 12, 1999.
Roberts, Catsou, "Ouverture de Salon 3", Art Press, 243, February 1999.
Spaid, Sue, "Conceptual Art as Neurobiological Praxis", Village Voice, April 1999.
Scott, Andrea K., "Conceptual Art as Neurobiological Praxis", Time Out, New York Times, February 12, 1999.
Denk, Andreas, "Nur Wasser läßt sich leichter schneiden", Kunstforum, May/June 1999.
Jones, Ronald, "A continuing investigation into the relevance of abstraction", Frieze, Issue 47, Summer 1999.
Polzer, Britta, "Kunst", Annabelle, June 1999.
Radio DRS 2, "Interview with Liam Gillick", June 29, 1999.
Kock Marti, Claudia, "Viereck und Kosmos", Die Südostschweiz/Glarner Nachrichten, July 2, 1999.

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Krebs, Edith, "Er ist ein Jongleur", Züricher Tagesanzeiger, July 3, 1999.
"Liam Gillick", Neue Züricher Zeitung, July 9, 1999.
Engler, Martin, "Verspätetes Millenium", Frankfurter Allgemeine, July 21, 1999.
Kurjako, Daniel, "Szenarien zwischen Gestern und Morgen", August 5, 1999.
Grundl, Eva, "Erklärt Kunst die Welt", Südkurier, August 12, 1999.
Wetterwald, Elisabeth, "XN", Parachute, 95, July/August/September 1999.
Asprey/Jaques Documentary, Channel 4.
Sonna, Birgit, "Der Fährtenleger", SZ Süddeutsche Zeitung, Nr. 188, 7.07.1999.
"Britische Kunst wie fürs Wohnzimmer", Focus, Nr. 43, Oct. 25, 1999.
Troncy, Éric, "Éloge de la pièce manquante", BeauxArts magazine, numéro spécial, Qu’est-ce que l’art(aujourd’hui)/What is art (today), December 1999, p. 122-125.
Gaensheimer, Susanne, "In Search of Discussion Island - About the Book Big Conference Centre by Liam Gillick",Index, 22, February 1998.
Holmquist, Karl, "Hospital", Flash Art, March/April 1998.
Lindgaard, Jade, "Le Plexiglas Philosophical", Le Monde/Les Inrockuptibles, 6.- 12.5.1998.
Musgrave, David, "A to Z", Art Monthly, May 1998.
Ebner, Jorn, "Dickes Make-up, dünnhäutige Kunst", Frankfurter Allgemeine, 11th July 1998.
"Inglenook", Village Voice, 21st July. 1998.
Johnson, Ken, "Inglenook", New York Times, 24th July 1998.
Troncy, Eric, "Liam Gillick/Villa Arson", Les Inrockruptibles, Summer 1998.
Blase, Christoph, "Folienwechsel", Blitz review, Nr. 463, 1998 (http://blitzreview.de).
"Paul Cassirer Kunstpreis", Berliner Morgenpost, 30th Sept. 1998.
"Paul Cassirer Kunstpreis", various press, 1998.
Morning Edition, NPR, New York, Oct. 3, 1998.
Braun, Kerstin, "Wie bildende Kunst theater reflektiert", Neue Zeit, October 9, 1998.
Eibakke, Anders and Evenrud, Bjonnulf, "Liam Gillick", Natt & Dag, December/January 1998.
Slattum, Berit, "Kommuniserende britisk samtidskunst", Klassekampen, 9.12.1998
De Jonge, Peter, "The Rubell's in Miami", Harper's Bazaar, February 1997.
Kornbluth, Jesse, "Is South Beach Big Enough for Two Hotel Kings?", New York Times, February 16, 1997.
"Die Zukunft als Künstlerisch-humanes Spielkonzept", Ludwigsburger Kreiszeitung, February 22, 1997.
"Enter", Luzerner Zeitung, 12th April 1997.
Volk, Gregory, "Liam Gillick at Basilico Fine Arts", Art in America, June 1997, pp. 112-113.
Avgikos, Jan, "Liam Gillick at Basilico Fine Arts", Artforum, Summer 1997, p. 136.
Nahas, Dominique, "I met a man who wasn’t there", Review, July/August 1997.
Mangini, Elisabeth, "I met a man who wasn’t there", The Exhibitionist, August/September 1997.
Troncy, Eric, Gillick, Liam, "Entretien, Les gens étaient-ils aussi bêtes avant la télé", Documents sur l'art, 11,
Automne/Hiver 1997/98, p. 110ff.
"Viel frische Luft in der Villa Franck", Ludwigsburger Kreiszeitung, 08.12.1997.
Tannert, Christoph, "Zwischen Hospital und Hotel", Berliner Zeitung, December 20, 1997.
Werneburg, Brigitte, "The Good Beuys", Taz, Dec 20, 1997.
Fielder, Tanja, "Auf dem Pappbett endet Sehnsucht", Morgenpost, December 16, 1997.
"Schwarzwaldklinik", Ticket, December 11, 1997
Gale, Ian and Starr, Georgina, "Where does British Art go from Here?", Independent, 02.01.1996.
Brown, Neal, "Ideal Standard Summertime", Frieze, 26, January/February 1996.
Dannat, Adrian, "Brilliant", Flash Art, January/February 1996.
Ford, Simon, "Myth Making", Art Monthly, 194, March 1996.
Archer, Michael, "No Politics Please. We’re British", Art Monthly, 194, March 1996.
Tozer, John, "Co-operators", Art Monthly, 194, March 1996.
Schumacher, Rainald, "Liam Gillick", Springer, No. 1, 1996.
Ritchie, Matthew, "Liam Gillick: Part Three", Performing Arts Journal, 1996.
Schöllhammer, Georg, "Kuratiert von:", Springer, March 1996.
Werneburg, Brigitte, "Das Virus Heißt Political Correctness", Die Tageszeitung, 9/10 March 1996.
Steiner, Barbara, "If...If...If... a lot of possibilities", Paletten, 223, 1996.
Parreno, Philippe, "McNamara - A film by Liam Gillick", Paletten, 223, 1996.
Spiegl, Andreas, "Traffic - CAPC", Art Press, 212, April 1996.
Knoll, Hans, "Parallelwelten und Frottierte Schilde", Der Standard, 18.4.1996.
Hofleitner, Johanna, "Ausgestellt in Wein", Die Presse, 19.4.1996.
McRitchie, Lynne, "Brillliant", Art in America, May 1996.

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Ford, Simon, "Der Mythos vom Young British Artist", Texte zur Kunst, Nr. 22, May 1996.
Herbert, Martin, "Liam Gillick", Time Out, May 15-22, 1996.
Worsdale, Godfrey, "Liam Gilllick", Art Monthly, 197, June 1996.
Cruz, Juan, "Some Drawings from London", Art Monthly, 198, July/August 1996.
Bang Larsen, Lars, "Traffic", Flash Art, 189, Summer 1996.
Steiner, Barbara, "Traffic", Springer, II, 2, 1996.
Kuni, Verena, "Der Umbau. Raum", Springer, II, 2, 1996.
Higgie, Jennifer, "Liam Gillick", Frieze, 30, 1996.
Freedman Carl, "Some Drawings From London", Frieze, 30, 1996.
Steiner, Barbara, "Film as a method of Thinking and Working", Paletten, 224, 1996.
Brugerolle, Marie, "Renaissance du Magasin", Art Press, 217, October 1996.
Lebovici, Elisabeth, "Grand Déballage d' Art Britanique", Libération, 10.10.1996.
Sutej Adamic, Jelka, "Liam Gillick", Delo, 11.10.1996.
Vettese, Angela, "Giovani Inglesi Aspettano Godot", Il Sole, 13.10.1996.
Krome, Michael, "Liam Gillick", Kunstzeitung, 3, 1996.
"La Crème anglaise s'expose à Paris", Le Figaro, 26.11.1996.
Fleck, Robert, "Die wahren Helden sind die Väter", Art, December 1996.
Restany, Pierre, "Nicolas Bourriaud", Domus, 1996
Franz Niegelhell, "Sammeln und Speichern", PAKT, January 1995.
Michael Hauffen, "Das Archiv", Kunstforum, January 1995.
Justin Hoffman, "Das Archiv", Artis, February-March 1995.
Zapp Magazine, "Möbius Strip", 4, 1995.
Arno Gisinger, "Das Archiv", Eikon, April 1995.
"Project, (Jake & Dinos Chapman) ", Art & Text, May 1995.
Nicolas Bourriaud, "Pour une ésthetique relationnelle", Documents, 7, 1995.
Sabine Maida, "Sur un air de Darwin", Paris Quotidien, May 15, 1995.
Philippe Parreno, "Une exposition serait-elle un cinéma sans caméra? ", Liberation, May 27, 1995.
Eric Troncy, "Liam Gillick", Flash Art, Summer 1995.
Sabine Krebber, "Romantisch und Verwundbar", Stuttgarter Nachrichten, July 1, 1995.
"Forget about the ball and get on with the game, (with Rirkrit Tiravanija) ", Parkett 44, Summer 1995.
Adrian Searle, "Karaoke", Time Out, July 26, 199.5
Sarah Kent, "Ideal Standard Summertime", Time Out, July 26, 1995.
Philip Sanderson, "Ideal Standard Summertime", Art Monthly, September, 189, 1995.
"Erasmus is Late", La Repubblica, September 15, 1995.
Christoph Blase, "Ibuka! ", Springer, 4, 1995.
Martin Maloney, "Grunge Corp", Art Forum, November 1995.
Jeffrey Kastner, "Brilliant? ", Art Monthly, December/January 1995-96.
Lynn McRitchie, "Brilliant", Financial Times, 1995.
Karmel, "Liam Gillick", New York Times, December 8, 1995.
Stuart Servetan, "Liam Gillick", New York Press, December 6 - 18, 1995.
Doran, Anne, "Part Three", Time Out, New York, December 13 - 20, 1995.
Collings, Matthew, "My Brilliant Repartee", Modern Painters, Winter 1995.
Herbstreuth, Peter, "Leipzig: Fotografie im Kunstverein Elsterpark", Kunst Bulletin, 12/95
Weil, Benjamin, "Backstage", Flash Art, January/February 1994.
Radio Interview, Luzern, February 1994.
James, Mark, Freeze, BBC 1, Omnibus, February 22nd, 1994.
Bouley, Nathalie, "Les Parcours d’illusions... ", Le Bien Public, February 23, 1994.
Topor, Roland, "Surface de Réparations", Art & Aktoer, February, 5, 1994.
Bourriaud, Nicolas, "Au Moment du Penalty", Globe, 9 - 15 February, 1994.
Bourriaud, Nicolas, "Surface de Réparations", Art Press, 190, 1994.
Troncy, Eric, "Surface de Réperations", Omnibus, June 1994.
Billeter, Fritz, "Schnörkel und Schleifchen", Tages-Anzeiger, February 28, 1994."Arte Guerrero", El Pais, March 14.
Spiegel, Olga, "Fotographos de Londres... ", La Vanguardia, March 14, 1994.
Besson, Christian, "Surface de Réperations", Flash Art, May-June 1994.
Papadopoulos, Helena, "Don’t Look Now", Flash Art, May-June 1994.
Grant, Simon, "World Cup Football Karaoke", Art Monthly, September 1994.
"Paradies Verloren", Die Presse, October 22, 1994.
"Verdoppelt, durchleuchtet", Kleine Zeitung (Graz), October 12, 1994.

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Borchhardt-Birnbaumer, Brigitte, "Ein Neues Ausstellungsmodell", Wiener Zeitung, October 14, 1994.
Zinggl, Wolfgang, "Tee Trinken mit Künstlern", Flater, October 28, 1994.
"Schipper & Krome", Neue Bildende Kunst, November 1994.
Currah, Mark, Time Out, December 1994
Martegani, Amedeo, "Liam Gillick", Flash Art Italia, January 1993.
Lillington, David, "ON", Time Out, Jan 13th, 1993.
Schenk-Sorge, Jutta, "Zwölf Junge Britische Künstler", Kunstforum 120, 1993.
Interview with Liam Gillick, Flash Art, January 1993.
Castle, Frederick Ted, "Occurances-NY", Art Monthly, February 1993.
Troncy, Eric, "Wall Drawings & Murals", Flash Art, May 1993.
Bourriaud, Nicolas, "Modelized Politics", Flash Art, Summer 1993.
Lillington, David, "True Brit", Time Out, July 28th, 1993.
McKenzie, Ray, "Views from the Edge", Scottish Photography Bulletin, October 1993.
The List, July 2nd-15th, 1993.
Odling-Smee, James, "Wonderful Life", Art Monthly, October 1993.
Collings, Mat, "Art Break", Observer, October 17th, 1993
Di Pietrantonio, Giacinto, "Bond & Gillick, Studio Marconi", Flash Art Italia, February/March 1992.
Maureen Paley interviewed by David Brittain, Creative Camera, 313, January/February 1992.
Di Pietrantonio, Giacinto, "Bond & Gillick, Gio’ Marconi", Flash Art, April 1992.
Troncy, Eric, "London Calling", Flash Art 165, July/August 1992.
Verzotti, Giorgio, "News From Nowhere", Artforum, July/August 1992.
Lebovici, Elizabeth, "L’art piege a l’anglaise", Liberation, July 7, 1992.
Thomson, Mark, "Etats Specifique", Art Monthly, July/August 1992.
Pinto, Robert, "Molteplici Culture", Flash Art, October 1992.
Bonami, Francesco, "Twelve British Artists", Flash Art, November 1992.
Schjeldhal, Peter, "Twelve British Artists", Frieze, November/December, Issue 7, 1992
Jennings, Rose, "Documents: Karsten Schubert Ltd", City Limits, February 7-14, 1991.
Archer, Michael, "Documents: Karsten Schubert Ltd", Artforum, March 1991.
Jeffrey, Ian, "Bond & Gillick", Art Monthly, March, 144, 1991.
Myerson, Clifford, "Documents & Details, (correspondence)", Art Monthly, April, 145, 1991.
Christov-Bakargiev, Carolyn, "Someone Everywhere", Flash Art, Summer 1991.
Hilton, Tim, "Composition with Old Hat", Guardian, August 14, 1991.
"Frontlines: No Man’s Time", Artscribe, September 1991.
Jouannais, Jean Yves, "Villa Arson", Art Press, 162, October 1991.
Verzotti, Giorgio, "No Man’s Time", Artforum, November 1991.
Archer, Michael, "Audio Arts Issues and Debates I", Audio Arts, 1991.
Wilson, Andrew, "Technique Anglaise", The Art Newspaper, November 1991.
Troncy, Eric, "No Man’s Time", Flash Art, December 1991.
Rubinstein, Meyer Raphael, "Technique Anglaise", Arts, November 1991.
Archer, Michael, "Technique Anglaise", Artforum, December 1991.

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