As You Approach the Edge of Town the Lights are No Softer Than They Were in the Centre

 

VIEW IMAGES

  • As You Approach the Edge of Town the Lights are No Softer Than They Were in the Centre

    Liam Gillick

    THE VIEWS IMAGINED BY THE WORKERS AFTER THEY STOPPED PRODUCING CARS, 2005

    2 Wall diagrams, metal elements

PRESS RELEASE

Liam Gillick

As You Approach the Edge of Town the Lights are No Softer Than They Were in the Centre

November 4- December 10, 2005

LIAM GILLICK
As You Approach the Edge of Town The Lights Are No Softer Than They Were In The Centre

EXHIBITION DATES: NOVEMBER 4- DECEMBER 10, 2005
OPENING: FRIDAY, NOVEMBER 4th, 6-8PM
GALLERY HOURS: TUESDAY – SATURDAY 10-6PM
Casey Kaplan is pleased to announce its inaugural exhibition at 525 West 21s tStreet.

As You Approach the Edge of Town the Lights Are No Softer Than They Were in the Centre is Liam Gillick’s fourth solo show with Casey Kaplan.

The exhibition examines the interplay between built structures and theoretical constructs. For this exhibition Gillick combines new work in a range of media, surface, and scale. The structures include hanging texts, seating, low screens, wall designs and a quarter scale model of a new social space for a public plaza in Guadalajara, Mexico. Together the works combine experimental and improvisational structures with pragmatic social proposals.

Gillick’s arrangements constantly move in-and-out of conceptual focus, creating close-up views and wide panoramas, both literally and metaphorically. This visual push-and-pull reflects an impulse to question the relationship between interior (personal) space and exterior (social) space.

By combining parallel forms in an open and original framework, Gillick encourages active participation and fluid exchange between the gallery space, the viewer, and the artwork. His work aims to complicate the viewer’s relation to the traditional role of the art object, inviting you to turn aside from the work and become immersed in his theoretical and public projects. Collectively, the works embody Gillick’s most recent technical and artistic developments. This exhibition anticipates the artist’s forthcoming narrative, provisionally titled, Construction of One (Construcción de Uno), which outlines a new series of relationships between production and development in a post-industrial environment.

Recent solo exhibitions include: A Short Essay On The Possibility of An Economy of Equivalence, at La Casa Encendida, Madrid, Spain from October 2005 through January 2006; Factories in the Snow, at Meyer Kainer, Vienna, Austria from September 2005; McNamara Motel, The Center for Contemporary Art, at Malaga, Spain from September 2005; Presentism, at Corvi Mora, London, UK this past May; and Literally, The Museum of Modern Art, New York. Selected Group Exhibitions include: Singular Forms, Guggenheim Museum, New York, 2004; 50th Venice Biennale, Italy, 2003; What If, Modern Museet, Stockholm, Sweden, 2000. Recent public projects and interventions include: The new Home Office government building in London (2002-2005). Since 1995 Liam has published a number of books that function in parallel to his artwork including, UNDERGROUND (fragments of Future Histories) (2004), Literally No Place (2002), Five or Six (1999), Discussion Island/Big Conference Centre (1997), and Erasmus is Late (1995).