Gillick Chapter 7

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S.R.: Do you want to focus a little bit on the history of art? Can you name... - I mean you did already in the other answers but do you want to name some artists or practices which gave you a strong idea of something?

L.G.: Yes, a lot of the things you can break down... - I mean it sounds as if it`s too thought through but it breaks down into three categories I think. One is people where I understand the starting point and I don't understand where they got to. This is quite strong for me. That`s one thing. One is people where their understanding of the social function of art and their behaviour and the way they deal with the world and their position is very strongly influential. And the other one would be where I feel that there is a kind of ongoing depth to the work where despite of a lot of - this sounds very old fashioned and classical and rather romantic but - where I can keep coming back to things and still feel that there`s something to come back to. It sounds incredibly neo-conservative but it tempts to be not with... – I don`t think they are neo-conservative artists. So a good example of the first one might be Kai Althoff where I think I kind of understand where he comes from but I have no idea quite how he ends up with what he's ending up with is quite alien to me. But there is something I appreciate quite a lot about it. A good example of the second one would be Lawrence Weiner and a good example of the third one would be James Coleman for example. Now, however, none of these people directly influenced the work. Some very strange artists - if you think about Douglas Huebler. I was very interested in his work when I was at artschool but I find it almost completely useless as a reference point. I don't find it useful for anything I do, whatsever. On the other hand there are other artists who were quite influential on what I do, physically and literally and in space. Where I always think, well, someone just worked it out and actually made the connection, they would suddenly find a lot of things on [?]. Kippenberger was incredibly influential on me as an artist but people don't think they can see that, but if you think about it and you look at the work, and especially with this recent exhibition where there's more architectural reference points within the work which I think has been in...

S.R.: Bordeaux?

L.G.: Yes. Exactly. Which I haven`t seen but I`m aware of. There is something there. That`s a kind of - it is not exactly an influence but it`s attitudinal to a certain extent and not about persona or behaviour or anything like that. But to do with the idea of... - Maybe it's entirely formless, it has to do with how you can take things and reconfigure them. I think somewhere in the work there is a little bit of that, definitely. Surprisingly enough. But he was incredibly influential on Britain and very... - That whole period in Cologne was very influential because it became a model of how you could do an art center as it where in a place that wasn't New York or Paris. So the idea of Cologne as it were in the 80s became a model for a lot of people at Goldsmiths, even though they wouldn't talk about it properly or couldn't necessarily. Of course you see this much more clearly in other people`s work like Sarah Lucas and so on. You don`t see that there is a direct reference point but there was something about that kind of modelling of a decentered centre for art exchange that was very influential. That's a kind of honest answer, slightly disturbing one, maybe.


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