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Play, download and edit the free video Liam Gillick, The Work Life Effect, 2021.

Liam Gillick
The Work Life Effect
February 25th - June 27th, 2021
Gwangju Museum Of Art

Director Jun Seungbo
Chief Curator Kim Heerang
Curators Park Jiwoong, Lim Liwon
Interns Kim Hana, Choi Youngseo, Lee Chul, Jeon Minsoo
Special Thanks to Gallery Baton, Samik Piano
Copyright Liam Gillick and Gwangju Museum of Art, 2021

The Work Life Effect proposes a zone where we sense
the effects of the merging of work and life that has accelerated in the digital period and under the conditions of the Covid-19 pandemic. The exhibition does not directly illustrate such processes, rather it evokes a twilight mood of lights, forms and affects that bring forward how emotional and formal aspects of perception and experience are altered when we are subjected to new modes of mediated existence.

The exhibition suggests both exterior and interior spaces. In these zones we see large equations glowing on the walls, as if the analytical data surrounding us were visible
– replacing the neon lights of a city at night with tools to calculate human happiness. Lights moving up and down operate as signs to the entrance of the exhibition – creating waves of shadows that move while we remain still.

Two large architectural spaces are constructed inside the main room – with all other museum walls removed. They operate as semi-autonomous zones – neither within or without the museum itself. These two spaces within a space contain two paradoxical aspects of the artist’s work, namely abstraction in tension with a poetics of social life, experience and struggle.

Both spaces resemble store fronts or enormous display cases. Brightly lit they appear to have glazed facades. However the glass is an illusion and one can easily step into them. The first contains a new series of abstract ‘fins’ and ‘horizons’. These abstract wall based works allude to distinctly contemporary elements we find in the built world of architecture, industry and communication. The works have evolved from an earlier focus on false ceilings and dividing screens to evoke the cooling fins, server arrays and vents that are the circulatory organs of the built world.

The second contains the work Factories in the Snow (Il Tempo Postino) (2007) an pivotal work that comprises a digital player piano and a snow machine. The piano stands alone as black snow falls. What can be heard is the artist attempting to play from memory the folk song used to announce the beginning of the 1974 Portuguese Revolution.

An important aspect of the exhibition extends to the lobby of the museum and the book lounge. Large graphic works on the windows provide a new glossary of terms
to describe contemporary working conditions. Another graphic on the windows of the Museum Lounge shows a stylized Gwangju Kiosk, open 24/7 and selling many new “products” such as Production, Pain, Fire and Team Work. These spaces are furnished with low tables and stools that provide spaces for informal gathering, study and research.

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