(+351) 226 156 500
from 28 JAN 2016 to 08 JAN 2017

This first exhibition in Portugal of influential New York-based British artist Liam Gillick (1964, Aylesbury, UK) results from a series of site visits to the Serralves Museum of Contemporary Art made since 2013. The subsequent exhibition takes the form of a year-long presentation and reflects Gillick’s long-standing engagement with questions of process, participation, collectivity and decision-making, and of which his varied approach to language and the language of space are an expression.  

Campaign has been conceived as a series of changing sculptural interventions in the large, central gallery of the museum along with other spaces over the course of the year. Gillick presents a progressive overlaying of spatial and performative situations that elaborate previously realized and unrealized sculptural projects dating from the late 1990s to the present. Including sound, sculptural and text-based works that have existed as early prototypes or sketches but never produced on the architectural scale for which they were initially intended, Gillick’s choreography of spaces, objects and ideas poetically addresses themes of time, as history and duration, and the visual and spatial codes of the social.

Factories in the Snow, on view since January 2016, served as an overture to the exhibition. It comprises piano, sound and artificial snow, and it was conceived by Gillick for ‘Postman’s Time’, curated by Philippe Parreno and Hans Ulrich Obrist for the first Manchester International Festival in 2007

As of 8 April, Factories in the Snow will be followed by the presentation in the same space of a 1:1 scaled version of AC/DC Joy Division House, a reflection of Gillick’s first public commission for a social centre for teenagers in Milan. Both piano and speculative architecture merge into transparent framework for text and sound while a large-scale sculptural translation of Guy Debord’s A Game of War occupies the Museum’s glass-walled sculpture gallery over the summer. In the autumn, the exhibition culminates in a series of interventions into the Museum’s architectural framework using the language of the discussion platform. 

Within the architectural and programming context of Serralves, Gillick’s exhibition as intervention will contribute to the Museum’s aim of articulating new models for exhibition making that respond to the distinctive practices of artists in their sculptural, discursive and temporal dimensions. 

‘Campaign’ is organized by the Serralves Museum of Contemporary Art, Porto and curated by Suzanne Cotter, Director, assisted by exhibition curator Filipa Loureiro. 

Image: Photo Filipe Braga, © Fundação de Serralves, Porto.
Related Activities

I. 1st Moment: 28 JAN 2016
II. 2nd Moment: 08 APR 2016
III. 3rd Moment: 25 MAY 2016
IV. 4th Moment: 30 SEP 2016


With the presence of the artist. 
PUBLIC TALK: 09 APR (Sat), 16h00

With the artist and Suzanne Cotter, Director of the Museum.

With the artist Liam Gillick and Suzanne Cotter, Director of the Serralves Museum of Contemporary Art.

The history of modern art is often told through aesthetic progress that coincides with key cultural and political changes. From Courbet to Picasso, or from Malevich to Warhol, it is accepted that art has accompanied the disruptions of industrialisation, fascism, revolution and war. However, if we filter the history of modern art solely from the perspective of catastrophic events, it’s impossible to explain the subtle developments that have led to profound confusions in the heart of contemporary art.
In Industry and Intelligence - Contemporary Art since 1820, Liam Gillick writes a genealogy filled with nuances, which helps us to appreciate the commitment of contemporary art with history, even when it seems to be apathetic or oblivious towards contemporary events.


06 MAR (SUN), 12h00
By Samuel Silva, Museum Educator


07 AUG (SUN), 11h00–12h30
Art Without Borders, by Inês Caetano, Museum Educator

A Game of War (Terrain): 09 JUL (Sat), 17h00

As part of Liam Gillick’s exhibition ‘Campaign’, A Game of War (Terrain) will be played by specialists in strategy games, conferring a participatory dimension to the work. The artist will be present during the game. 

Guy Debord developed this game as part of his company Strategic and Historic Games in 1965. It is a war simulator based on eighteenth century principles developed by military theorist Carl von Clausewitz. A version appeared in 1977 and the one you see here is derived from the online version created by the Radical Software Group in 2008. It is an asymmetrical game of strategy and conflict updated to take into account urban warfare, unconventional weapons, guerrilla tactics and cell organization. This game is intended to be played between two people. For Debord, ‘One can say the game of war will exactly reproduce all the factors that act upon war, and more generally the dialectic of all conflicts.’ 

Access: subject to purchase of a ticket to the Museum

Liam Gillick lives and works in New York. He studied Fine Art at Goldsmiths College, University of London. Recent one-person exhibitions include ‘All-Imitate Act’, Stedelijk Museum, Amsterdam (2015); ‘From 199C to 199D’, Magasin – Centre national d’art contemporain, Grenoble, France (2014); ‘From 199A to 199B: Liam Gillick’, Hessel Museum of Art, Bard College, New York (2012); ‘A Game of War Structure’, IMMA – Irish Museum of Modern Art, Dublin (2011). Recent group exhibitions include ‘Adventures of the black square: Abstract art and society 1915–2015’, Whitechapel Gallery, London (2015); ‘Une Histoire: Art, Architecture, Design des anées 1980 à nos jours’, Centre Pompidou, Paris (2014); ‘The Decade 1984–1999’, Centre Pompidou Metz, Metz, France (2014); ‘9 artists’, Walker Art Center, Minneapolis, USA (2013); ‘One foot in the real world’, IMMA – Irish Museum of Modern Art, Dublin (2013); ‘Reading List: Artist’s Selections from the MoMA Library Collection, New York (2013). Gillick participated in the 2015 Istanbul Biennial and Moscow Biennial of Contemporary Art. In 2009, he represented Germany in the Venice Biennial. The artist was awarded the Paul Cassirer Kunstpreis, Berlin in 1998, was nominated for the Turner Prize, Tate, London in 2002 and the Vincent Award at the Stedelijk Museum in 2009. He is the author of a number of books including a volume of his selected critical writing. High profile public works include the British Government Home Office (Interior Ministry) building in London and the Lufthansa Headquarters in Frankfurt. Throughout this time Gillick has extended his practice into experimental venues and collaborative projects with artists including Philippe Parreno, Lawrence Weiner and Louise Lawler. 

Exclusive Sponsor of The Museum
  • Days 28 JAN 2016 - 08 JAN 2017

Support this project.
Become a member.

Rua D. João de Castro, 210
4150-417 Porto Portugal