Gillick Chapter 6

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S.R.: I think that fits very well as a specific introduction to your work and your kind of recepting social theories, social behaviour into your own work. Maybe we can switch to the second part of the questions which are more abstract in a way that they will ask you »How are your communicative relationships to the history of art?« and so on. And I will start with the question "What do you consider as your strongest influence from the world - not only from art - from the world?".

L.G.: Well, there's two clear things. One is this kind of notional sense of a community of thinkers, and people of thinking and working and doing something. It's just that sense that you have in any given moment. This is a very strong influence on me. The idea that you are involved in an interplay that is often unspoken but there are moments of coming together. This sounds very simple. The other one is the sense of the built world, this constant adjustment of the built world. And this constant play with posession and repossession and planning and strategy and speculation and movement and so on. For example where I am here, next to the UN, I spend a lot of time watching the way they re-arrange the flow in the street and the movement of people and the control systems and the barriers and the bariccades and the temporary structures that come and go. In order to, both literally and psychologically, kind of show security as an idea or to literally do it. Or to exclude or not exclude. The kind of things that influence me and effect me on a daily basis are watching the removal of the fence around the UN. That`s been there for 50 years and they replace it with the same one but with deeper foundation. So the removal of something and the replacement of it, with its double yet with a kind of under-foundation that is three times as big. This kind of thing is what's affecting me.

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