Close
Close

EXHIBITIONS

Liam Gillick at Maureen Paley, London

For his exhibition at Maureen Paley, Gillick adopts an aesthetic more often associated with the bureaucracy of social systems, which he examines through a broad spectrum of media. An installation consisting of wall texts and pin boards is combined with an architectural construction that surrounds a projector screen, displaying a film that interweaves three specific sites of social and architectural history in New York. Through situating the film within this physical framework, Gillick illuminates the motives behind the structures depicted in the film.

Margin Time is centred around a film of the same name by Liam Gillick. Shot during the lead up to his work for the German Pavilion at the Venice Biennale in 2009, the film considers three specific sites of power in a form that deconstructs specific approaches from developed science fiction in the 1960s and 1970s –– specifically the writings of Stanislaw Lem (Solaris) and Christopher Priest (The Inverted World). While thinking of what to produce for the German Pavilion, Gillick considered the production of a science fiction film. To create a working habit –– he woke early every day to film workers arriving to construct a temporary building on the site of the United Nations Headquarters’ sculpture gardens in New York. This temporary building now houses the offices of the U.N. while the original Wallace Harrison led complex by Niemeyer and Corbusier is undergoing complete interior renovation. The film also takes in the adjacent Roosevelt Island master plan for middle class modern housing and shopping arcades by Philip Johnson and the recently completed F.D. Roosevelt monument by Louis Kahn at the tip of Roosevelt Island that points past the U.N. complex itself. The link between these three sites is made by a cable car shuttle. The film is a narrated series of shots that develops a revised language that reconsiders representations of power, memorial, connections, renovation and the temporary displacement of bureaucracy. The erasure of the United Nations gardens with its sculptures donated by various countries –– all exemplifying particular projections of ideology from the depiction of an Irish Famine boat to a thrusting young Stalinist pioneer –– sits as an important absence within the film. The narration slips between historical references to aspects as varied as Louis Kahn’s tragic death in the toilets of Penn Station to the now completely erased original interior of the United Nations via a story of continual displacement and anxiety that forms the core of the science fiction story. The presentation of the exhibition coincides with the first installation of the final Venice Biennale work as part of the permanent collection of the Guggenheim Bilbao.

at Maureen Paley, London

until 18 November 2012

Above – 80cm Margin Time Board (Pinboard Project 1992 onwards), 2012

75cm Margin Time Board (Pinboard Project 1992 onwards), 2012

100cm Margin Time Board (Pinboard Project 1992 onwards), 2012

Margin Time (Chapter 1), 2012

Margin Time (Chapter 1), 2012

Margin Time (Chapter 1), 2012

Margin Time (Chapter 1), 2012

Margin Time (Chapter 1), 2012

Courtesy of Maureen Paley, London

Related Articles
EXHIBITIONS
Hamish Fulton “A walking artist” at Galerie Thomas Schulte, Berlin
(Read more)
EXHIBITIONS
Kelly Akashi “Figure Shifter” at Ghebaly Gallery, Los Angeles
(Read more)
EXHIBITIONS
Dieter Appelt “Sound Fields” at Galerie Thomas Schulte, Berlin
(Read more)
EXHIBITIONS
“Harlem Perspectives II” at FACTION Art Projects, New York
(Read more)
EXHIBITIONS
“Qui, dove ci incontriamo” at Federica Schiavo Gallery, Milan
(Read more)
EXHIBITIONS
Katharina Grosse “Mumbling Mud” at chi K11 art museum, Shanghai
(Read more)