The 'November 1-December 21' exhibition, which takes its name from duration of the show, puts the work of artists Liam Gillick and Louise Kaplan side-by-side at  Casey Kaplan Gallery in New York. Photography: Jean Vong. Courtesy the artists, Casey Kaplan, New York and Metro Pictures, New York

纽约的当代艺术精英利亚姆·吉利克和路易丝·劳勒为切尔西的一场新节目汇集了他们的创造力。标题为“11月1日-12月21日”-参考展览的长度-安装在凯西卡普兰画廊展示他们的作品并排。

吉利克说：“我们每个人都在现场。”由此产生的展览将我们的作品层层放置在画廊里，而不是简单地放在画廊里。

吉利克创造了一个大型的悬挂在画廊天花板上的悬挂文本的装置，而劳勒的照片环绕着这个空间。劳勒以对艺术展示和文献的批评而闻名，她选择了两张照片-一张是卡尔·安德烈(Carl Andre)、理查德·塞拉(Richard Serra)和格哈德·里希特(Gerhard Richter)在画廊里展出的作品之间的负面空间，另一张是埃德加·德加斯(Edgar Degas)14岁的芭蕾舞演员玛丽·热涅夫·范·戈厄姆(Marie Geneviéve van Goe@@新的网站特定的作品被扭曲成无法辨认的颜色条纹包围画廊。

与此形成鲜明对比的是，吉利克的悬挂装置“vningsk rning(驾驶练习第1-30部分)”-2004年在密尔沃基艺术博物馆(Milwaukee Art Museum)首次展出，现在凯西·卡普兰(Casey Kaplan)以更压缩、更容易阅读的方式呈现-是一种清晰、毫不掩饰的声明，悬挂在游客的头顶上。文中描述了吉利克对瑞典卡尔马(Kalmar)的一次实地访问所写的情景，沃尔沃在那里首次采用了社会主义的汽车制造方式。使用铝制字母，吉利克概述了在组织系统崩溃后如何控制汽车生产。

尽管对每一个艺术家的风格都非常忠诚，但这两部作品不仅对抽象的力量进行了评论，而且还对艺术本身的框架进行了评论。正如它的标题所示，这种罕见的视觉对话只在有限的时间内出现，所以请在它持续的时候进入。

Gillick has created a large-scale installation of hanging text suspended from the gallery's ceiling, while Lawler's photographs surround the space

'Each of us sets the scene,' explains Gillick. 'The resulting exhibition layers our works onto the gallery rather than simply placing them within it'

Lawler's image of the negative space between works by Carl Andre, Richard Serra and Gerharrd Richter installed in a gallery

Lawler, who is known for her critique of the display and documentation of art, has selected two of her photographs and stretched them along the gallery walls. The new site-specific pieces are distorted into unrecognisable streaks of colour that encircle the gallery

In Gillick's hanging installation, Övningskörning (Driving Practice Parts 1-30), the text describes a scenario written by Gillick in response to a site visit to Kalmar, Sweden, where Volvo first instituted its socialistic approach to auto-manufacturing

Using aluminium letters, clear, unabashed statements hang above visitors' heads. Gillick outlines how auto-production could be controlled after the organised systems have broken down

Lawler's image of Edgar Degas' 14-year old ballet dancer, Marie Geneviéve van Goethem

keywords:Liam Gillick, Louise Lawler, November, December, Casey Kaplan

关键词：Liam Gillick，Louise Lawler，11月，12月，Casey Kaplan