Gillick Chapter 4

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S.R.: Do you think it is a misunderstanding when you are associated with minimalist-inspired structures or do you think it's just one perspective?

L.G.: It's very difficult. The things is quite a long time ago Margo Leavin in Los Angeles put a piece of my work in a show of really classic minimalist art, [?] and Donald Judd and of course the work doesn't work in relation to that work. It looks so alien. You'd actually be better off doing something more extreme in relation to the work and something much more separate. I'm interested in the legacy of utopian modernism and that's much more of an influence on me than minimal art per se. I'm interested in the applied work, to do with architecture and social urbanism and the details of the renovated social space. I`m much more interested in that than I am in Donald Judd for example. But of course there is a lot of shared DNA between those things and so it just becomes a question of having to delaminate the reference points and it's something that I don't mind if the interpretation happens as a kind of accident but it's something that I'm constantly playing with. You know I`m constantly trying to negotiate my position in relation to that.


I just need to have a drink of coffee.


That was a really fudgy answer.


S.R.: We can do it again.

L.G.: It`s true. The problem...

S.R.: We can do it later.

L.G.: No! Well, you know the thing is - it's the true answer. I mean it would appear that there is some quite precise connection with minimal art but in fact it really isn't because it doesn't have any of the same interests in a way but strangely enough it does appear similar some times. I have to say that I'm not completely against what that then produces sometimes. It gives me opportunities to work in ways into situations that otherwise I wouldn't have. That sounds wrong, too. But it's something that I'm very conscious of, it's that kind of play.

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