Christophe Cherix recently interviewed Sean Dack and Liam Gillick about their fruitful collaboration by email for aanews. At the time, their OSP book only existed as a PDF fi le. This kind of thing is banal now, of course, but every once in a while it hits home again. Virtual book, virtual interview: can the virtual artist be far behind? These guys are for real, though, as you can tell here. And if virtual is good enough for you, the PDF can be downloaded at www.onestarpress.com
How did you come to collaborate with Sean Dack?
Liam Gillick: Sean and I met at Columbia University a couple of years ago, where I go in for two weeks a year to run an intensive group situation. We have been looking at each other’s work for some time, but this is our fi rst real collaboration. His interest in fi lm and photography within his art made it a functional partnership. But also he cast Lisa Rovner in the role of Anna Sanders for our clip as he is in a sophisticated position in relation to the contemporary situation in New York. His work is extremely stable in terms of its elegant execution yet deals with issues thatare inherently destabilised; the corrupted multiple image of fame; landing planes near suburban homes; urban abandonment and promotion. He manages to avoid didactic presentations without losing a certain melancholic political element within the work. We work together pretty well including work on the editing and soundtracks for the film.
Read entire article
atrick Phipps doesn’t appear in the revue J&L Illustrated #11 and it’s surely an accident because most of his peers are there, David Shrigley, Marcel Dzama, Craig Taylor, Oskar Korsar, Dame Darcy and the others. Where is this sudden eruption of incontinent doodlers coming from? Is it a sign of the times – that graffiti has left the walls of the city (thanks Mr. Giuliani) to invade the notebooks and proliferate right into the galleries? The Blog generation lets its cerebral matter drip from its pencil points. Well made heads, full to the exploding point, the umpteenth Renaissance, the “noble” arts and the trivial sources of Impressionism and Pop stirred into lumpy mashed potatoes, appetizing, innocent (in appearance), adolescent. 
