Lot 105
  • 105

Liam Gillick

Estimate
12,000 - 18,000 GBP
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Description

  • Liam Gillick
  • Resisted Production
  • painted aluminium and transparent Plexiglas

  • 100 by 101 by 22.1cm.; 39 3/8 by 39 3/4 by 39 3/4 in.
  • Executed in 2008, this work is unique.

Condition

Colour: The colours in the catalogue illustration are fairly accurate, although the overall tonality is brighter and more vibrant in the original. The illustration also fails to convey the optical effect of the work. Condition: This work is in very good condition.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Catalogue Note

Liam Gillick's most significant project at the ICA has been Kiosk:
'Modes of Multiplication' & Liam Gillick: 'Edgar Schmitz', in 2005. For
this exhibition the artist created a reading room in the ICA's lower
gallery, a structure for a travelling archive of independent art
publications. Gillick has also participated in group shows such as The Speaker Project, 1992, Glass Shelf Show, 1996, and Memorial to The Iraq War, 2007.

The work Resisted Production, 2008, is a new piece made by the artist for the ICA's 60th anniversary auction. Gillick's screen sculptures are based on an analysis of how ideology is manifested in architecture – and how, in turn, architecture affects social interaction.

"As a teenager visiting the ICA, I first had to deal with the functional reality of contemporary art. From then on everything had to be questioned. The ICA is a model context for the true
extension of ideas."
 (Liam Gillick, 2008)