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{{BLP sources|date=January 2012}}
'''Guillaume Bijl''' (born 1946 in [[Antwerp]]), is a [[Belgium|Belgian]] [[installation art]]ist. He currently lives and works in Antwerp.
[[File:Mattressdiscount installation,2002, Kunsthalle, Muenster.jpg|thumb|Mattressdiscount installation, 2002, Kunsthalle, Münster]]
[[File:"Fami-Home" installation, 1988, Belgium Pavilion, Biennial, Venice.jpg|thumb|"Fami-Home" installation, 1988, [[Venice Biennale]], Belgium Pavilion]]
==Early life and education==
Bijl is a self-taught artist. He followed a theater course and was first working as stage builder and painter. From the second half of the 1970s he started to create spatial objects and was researching in finding alternatives for [[conceptual art]].▼
Bijl was born in Antwerp in 1946 in a working class family. The artist's father worked at the local docks and his mother worked for the Bell Telephone Company. A self-taught artist, Bijl came to art as an outsider initially making paintings during the 1960s. During this time, he mimicked numerous artistic movements such as [[Impressionism]], [[Expressionism]], [[Surrealism]], abstract movements and more. During a period of self-guided studies in economics, Bijl worked at a bank in Brussels. Shortly thereafter his parents sent him to a local vocational trade school in the hopes of gaining professional skills. For nearly a decade, Bijl worked part-time in the art section of a bookstore in Antwerp. In the late 1960's, he studied theater and film at the Royal Institute for Theatre, Cinema, and Sound in Brussels before dropping out after only a year. Bijl only then devoted himself to art making full-time in his mid-30s.<ref name=":0">{{Cite book|url=https://www.worldcat.org/oclc/965382483|title=Jumps of the cat : Guillaume Bijl's simulation therapy|last=C.,|first=Welchman, John|others=Dirié, Clément,, Leemans, Koen,, Cultuurcentrum Mechelen,|isbn=9783037644683|location=Zurich|oclc=965382483}}</ref>
==Work==
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Bijl's first installation was a driving school, set in a gallery-space in Antwerp in 1979, accompanied by a [[manifesto]] calling for the abolition of art centres, and replacing them with 'socially useful institutions'. This installation was followed in the eighties by a billiards room, a casino, a laundromat, a centre for professional training, a psychiatric hospital, a [[fallout shelter]], a show of fictitious American artists, a conference for a new political party and a rural Belgian model house. A more recent show was at the Berlin’s Center for Opinions in Music and Art.<ref>Guillaume Bijl. Frieze Magazine,
Daniel Miller, 03/03/09. {{cite web |url=http://www.frieze.com/shows/review/guillaume_bijl/ |title=Archived copy |accessdate=2012-01-30 |deadurl=yes |archiveurl=https://web.archive.org/web/20130103035810/http://www.frieze.com/shows/review/guillaume_bijl/ |archivedate=2013-01-03 |df= }} </ref> Bijl has been reviewed by the [[New York Times]].<ref>Review/Art; A Conceptual Installation With Luxury for All. By Michael Brenson. December 21, 1990. https://www.nytimes.com/1990/12/21/arts/review-art-a-conceptual-installation-with-luxury-for-all.html?pagewanted=all&src=pm </ref> He divides his work into four categories: '
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== Group Exhibitions ==
==Public collections==
Bijl's piece titled ''Behandlingen'' (1975-1979) resides in the collection at the [[Museum of Contemporary Art, Antwerp]]. The artist has work collected at [[Centre Georges Pompidou|Centre Pompidou]] and [[Musée National d'Art Moderne|Musée Nationale d'Art Moderne]] in Paris, the [[Stedelijk Museum voor Actuele Kunst]] (S.M.A.K.) in Ghent, [[Mumok|MUMOK]] in Vienna, the Goldberg Collection in New York, and more.<ref name=":0" />
== References ==
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