Artist, writer, critic, teacher, networker
‘Where does Gillick fit? The simple answer is: nowhere’, one reviewer remarked of the British artist/writer’s show earlier this year at Casey Kaplan, New York, in which what looked like hi-tech bar charts were crossbred with minimalist sculpture and accoutred with poetic vinyl wall texts (‘Run to the nearest town…’). Arguably Gillick fits right where he is, obliquely tracking aspects of capitalism’s signal and noise, and, two decades in, still offering up his signature ‘discussion platforms’ as places to talk about it. He’s equally important, though, as a super-connector, at the heart of a network of artists and curators; and, of course, as a prescient thinker. This winter found him opening the yearlong, four-‘movement’ Campaign at the Serralves Museum of Contemporary Art in Porto; spring saw his new book, Industry and Intelligence: Contemporary Art Since 1820, tracing two centuries of art’s relation to science, politics and tech. This October he found time to direct the inaugural Okayama Art Summit.