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There is an unresolved dichotomy in my work. One central element is the creation of a contemporary abstraction based upon color systems and secondary forms extracted from the built world. The other crucial elements are statements, texts, equations, and graphics that point directly at the difficulty of enacting a process of critical abstraction today. This work combines these elements into one artwork. On the surface this NFT is a simple proposition. “An infinite queue of artists... Each artist thinks at least some of the artists behind them... Are thinking an untruth.” The statement is broken down into three revolving circles. Each circle moves independently from the others. The statement refers to the relationship between the individual and the group and is derived from Sorensen’s queue paradox which, in turn, is his own version of Yablo’s paradox (J.C. Beall, Analysis 61.3, July 2001). In Sorensen’s case he writes of a “denumerable” queue of students. A set is denumerable if it can be put into a one-to-one correspondence with (the) natural numbers. The circular statement that comprises this NFT places the artist in an implicated role in a line with all other artists who could possibly exist. It places the artist in isolation in relation to creating art as a “production of truth.” This is particularly significant when we consider the disruptive status of the NFT as a form of art and its complex position regarding the history of Conceptual art, production, and exchange. On the surface, the work appears to be a simple statement related to art, logic, and mathematics. But here the Hexadecimal codes of the 200 or so colors that I have used for the last twenty-five years are reinterpreted as an algorithm that drives the paradox along with the relative speeds and direction of rotation. The ever-repeating cycle is tied to the blockchain; it is renewed whenever an NFT is burned on SuperRare as recorded on Etherscan.
Technical Director: leticrion
In his work, Liam Gillick (b. 1964) exposes the dysfunctional aspects of a modernist legacy in terms of abstraction and architecture when framed within a globalized, neoliberal consensus, and extends into structural rethinking of the exhibition as a form. Since the late 2000s, he has produced a number of short films that address the construction of the creative persona in light of the enduring mutability of the contemporary artist as a cultural figure. Over the last twenty-five years, Gillick has also been a prolific writer about, and critic of, contemporary art. His book Industry and Intelligence: Contemporary Art Since 1820 was published by Columbia University Press in 2016.
Gillick has been included in numerous international exhibitions, among them Documenta X, the 53rd Venice Biennale, and the 2nd Berlin and 14th Istanbul Biennales. His work has been presented in solo shows at the Gwangju Museum of Art (2021), the Museum of Contemporary Art, Chicago (2009), the Museum of Modern Art, New York (2003), Tate, London (2001), and is held in many significant collections, including those of the Centre Pompidou, Paris, the Guggenheim Museum, New York and Bilbao, and the Museum of Modern Art, New York. Gillick has extended his practice into experimental venues and collaborative projects with artists such as Louise Lawler, Philippe Parreno, Adam Pendleton, and Lawrence Weiner, and with the band New Order in a series of concerts in Manchester, Turin, and Vienna. He has created major public commissions for the Office of the British Government Interior Ministry Building in London and the Lufthansa Headquarters in Frankfurt. Gillick is based in New York.