In this way, the communication banners made of aluminum and mounted on a steel ring go hand in hand with the architecture and embody the formal idiom exemplified by the Lufthansa Aviation Center. By consciously using the same codes in the existing architecture, Liam Gillick's work appears to be part of the corporate and building concept. The statements on the banners recall the productivity ideology of a company:

These four guidelines list the alleged principles of economic success. The balance of input and output on the material and administrative levels, the effective execution of innovative ideas, and the interplay of management and implementation point to the principles of perfect economics, but also to the principle of equality that certain utopias of previous centuries have related to human beings.

Liam Gillick

born in Aylesbury, UK in 1964
lives in New York

  • 1995 Documenta X, Kassel
  • 1999 Frankfurter Kunstverein, Frankfurt am Main, David
  • 2000 Westfälischer Kunstverein, Münster, consulation filter
  • 2001 Tate Britain, London (England), Annlee You Proposes
  • 2002 Whitechapel Art Gallery, London, The Wood Way
  • 2003 Museum of Modern Art, New York, NYProjects 79: Liam Gillick, Literally
  • 2005 Palais de Tokyo, Paris, A short text on the possibility of creating an economy of equivalence
  • 2007 Städtische Galerie im Lenbachhaus, München, Rhythmus 21 - Positionen des Abstrakten
  • 2007 Witte de With Center for Contemporary Art, Rotterdam, Three Perspectives and a short scenario
  • 2008 Stedelijk Museum, Amsterdam (Vincent Award, zusammen mit Francis Alÿs, Deimantas Narkevicius und Rebecca Warren)
  • 2009 Deutscher Pavillon auf der 53. Biennale Venedig (kuratiert von Nicolaus Schafhausen)
  • 2009 Künstler im Fokus, Einzelausstellung Executive Two Litre GXL im Museum für angewandte Kunst, MAK Wien
  • 2010 Kunst- und Ausstellungshalle der Bundesrepublik Deutschland, Bonn, Retrospektive Ein langer Spaziergang...Zwei kurze Stege