All Books (Special Edition, 2009)
A special hardback edition of All Books, printed offset, b/w with spot colour, and a letter-press printed dust-jacket, presented in a yellow and white perspex slipcase, produced by Book Works Studio. Designed by Liam Gillick with a dust jacket image by M/M (Paris), each hand-coloured by the artist.
215 x 140 mm
Edition of 30
Signed and numbered by the artist
Standard Price £375
Supporters price* £337.50
*Please note that the Supporters price is available to those who support Book Works via the Readers Club and Supporters scheme. For more information how to support Book Works please click here.
This special edition of All Books by Liam Gillick was published on occasion of Book Works’ 25th Anniversary.
About the work:
A special hardback edition of All Books which collects Liam Gillick’s major fictional texts: McNamara Papers, Ibuka, Discussion Island/Big Conference Centre, The Winter School, with Erasmus is Late and Literally No Place. Within each history, and the utopias and alternative visions of society envisioned by writers, filmmakers, philosophers, and scientists are presented and speculated on, often through the fictionalised voices of secondary historical characters. Traversing genres of fiction and critical discourse, ideas are explored in a nonlinear, open-ended discursive format, in which the textual structure mirrors the structuring of the presented ideas. In each text Gillick’s concern is to explore complex, paradoxical historical moments and the ideologies that shaped them, reflecting on how the redundant utopian elements of the past continue to structure contemporary society and remain impulses within speculations of our post-utopian future.
About the artist:
Liam Gillick is an artist based in New York and London working across diverse forms, including sculpture and installation. His wider body of work includes published essays and texts, lectures, curatorial and collaborative projects, all of which inform (and are informed by) his art practice. Gillick’s line of enquiry is into conditions of production, including how it continues to operate in a post-industrial landscape: questions of economy, labour and social organisation are ongoing preoccupations. He is perhaps best-known for producing sculptural objects – platforms, screens, models, benches, prototypes, signage, or structural supports made from sleek modular Plexiglas and aluminium forms in standardised colours from the RAL system. These seductive materials speak the language of renovation and development: originally refined by the military, they’ve been widely used in corporate interiors since the 1990s, a decade in which post-industrial societies saw a shift from the collective to the individualist and privatised. Drawing upon engineering and industrial design as well as the legacy of hard-edged minimalism, these abstract quasi-architectural forms offer a critique of neo-liberal or corporate aesthetics, automation and endless (re)development. Focusing on secondary or incomplete forms such as screens and platforms, Gillick pinpoints structures which have a potential to destabilise the power of architecture and the architecture of power, creating generative spaces for discussion or the development of ideas.
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