Jaime Gili - Superstars
London. Riflemaker Soho Square. 11 February to 29 March 2008
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Wall texts by Riflemaker:

"Jaime Gili's work is as if someone threw a bomb into a Cruz-Diez painting"
Jesus Fuenmayor, Curator, Periférico Caracas

 

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"Puignero" and "Gran salazar" aka "chicho"

 

Room 1

The three paintings in this room - 'Ouled Berhil', 'Puignero' and 'Gran Salazar' - are almost imposed on the conditions and style of the interior. In a sense, the aim of the artist has been to "beat the space" in a different way with each of the three works.

'Ouled Berhil'; black, blue and orange on a pink-grey ground, is so-called because it features a palette of colours noted by the artist following a visit the town of Ouled Berhil in Morocco at the gates of the Sahara. Out of the vast expanse of the mixed greys of the dust, sand and concrete natural to the environment Gili encountered vivid cadmiums and blacks on the painted doors and window-frames of the houses represented here by the pink and red 'shadows' which highlight the radial movements of imposing black and blue triangles.

 

jaime gili

"Ouled Berhil"

 

In this painting there is a circuit created in the eye of the viewer, almost a map or 'index' of the room itself. A kind of dance between the explosion with a centre on the left-hand side and the set of diminishing vectorial grids on the right. This in turn is replicated in the architectural interior itself between each of the paintings - one dominant explosion among the three separate works.

The second large canvas - 'PUIGNERO' - is, atypically for Gili, a much slower implosion than previously attempted. It takes the form of a cyclical stepwise movement as the viewer is absorbed much like a cosmonaut in space. In 'Puignero' the onlooker, lost in the intense arrangement of pink, orange and tin-blue diamonds is at the same time consumed by the idea of absolute reactive colour.

 

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at the opening: "Gran salazar" aka "chicho"

 

The third and largest work - GRAN SALAZAR aka CHICHO- is the most uniformly symmetrical canvas the artist has produced so far. Here the 'blast' emanates from the centre, creating a deceptively simple pattern within which overlapping, almost contrapuntal fragments bring a kaleidoscopic acceleration of energy to settle into an optimistic cadence.

jaime gili

"Gran salazar" aka "chicho" and "Ouled Berhil"

 

Room 2

In this room each painting begins as a journey of exploration. Gili seems to take an intuitive direction from which he may be hypnotised away towards unexpected treasure. Like a prospector sensing something precious beneath the surface he digs for the rush of gold or oil.

This group of small 'superestrellas' are solidified from a fluid state. They themselves discover ways of conversing with one another, thereby setting up the rhythm or sequence of the installation.

jaime gili

Room 2 with "antoni", "batista" and "la maluca"

 

“In opposition to what historical modernist painters did, developing towards a cleaner synthesis, I feel you are building a synthesis of your work retrospectively – in reverse. It would no longer be the case of ‘a bomb thrown into a Cruz-Diez’ but an explosion that keeps occurring within your own work.”
Jesús Fuenmayor, Curator, Periférico Caracas

 

pequeñas superestrellas:

 

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"bozhkov", "laia", "elisenda"

 

 

jaime gili________?_jaime gili________?_jaime gili

"eze", "ayumu", "antoni"

 

 

jaime gili?___________jaime gili

"pink painting (eduardo)", "carola"

 

 

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"gabriela 2", "valentí", "aybar"

 

 

jaime gili___________jaime gili

"la cuca", "la maluca"

 

 

jaime gili________?__jaimegili______?___jaime gili

"la fanta maría", "otto", "alba"

(all the above, 2007-2008, 35 x 45cm or 45 x 35cm)

 


Plus: T.A.X.I. (Crash helmets)

“The sideway glance is the glance of art. A glance which requires an uneasy position and a crooked perspective – only obliquely can one make out a disfigured message, removed from literal sense. This operation constitutes a strategy against the transparency of advertising – a way of mocking the obviousness of the message by intervening with rhetorical digressions and lateral meanings. But it is also a device to enable specific appropriations: Jaime’s idea is that once the decal’s (stickers) are distributed among the taxi drivers each one will appropriate the artist’s appropriation and ‘invent a way of putting them on his or her vehicle’ decorating in a specific or varied manner.”

Ticio Escobar on TAXI project, the crash helmet’s stickers, in the catalogue of Tres Fronteiras – 6a Bienal do Mercosul, Porto alegre, Brasil

 

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"T.A.X.I" in room 3

 

superestrellas
buia gallery, 140 e23rd st.
new york nov. 2007

 

jaime gili

entrance with "martín", "sacha" and the posters

 

jaime gili

"eichner" and the posters

 

jaime gili

"matias" and "eichner"

 

jaime gili

"la zacca"and "barbara" behind her

 

jaime gili

"la zacca" with "camilo" and "mateo"

 

jaime gili ? ? jaime gili

"matias" and "la zacca", "manu" with the posters

 

www.buiagallery.com

Press release from the gallery:

BUIA Gallery is pleased to announce Superestrellas, the debut New York solo exhibition of artist Jaime Gili.  Venezuelan by birth, London-based Royal College MA artist Jaime Gili transforms the gallery white cube into a contemporary interpretation of Latin American Geometric Abstraction with a street flare.  Plastering one wall of the gallery with black and white posters and smaller vibrant works and then placing a precise, transmutative installation of large-scale works leaned against the columns of the gallery, Gili creates a labyrinthine pathway into a Pop Culture/Mass Culture, Futurism grounded abstraction.

Looking at Venezuelan Modernism, and Latin American Modernism in general, Gili considers geometric abstraction as seen through contemporary urban eyes.  Distinctly anti Postmodernism, Gili believes that Modernism entails working together, moving forward, and accessing modes of visual representation that reinforce social mass communication.   Infusing this more academic interest with a touch of graffiti's sensibility and ethos, Gili brings energy and innovation to the discourse.  Interested in the power of repetition and movement, earlier series by Gili involved semi-abstract interpretations of car doors and airplanes, while the new body of work has developed into highly abstract, multi-layered ‘star bursts' of hard edge geometric abstraction.  Made in varying color schemes and compositions, these works translate an interest in Futurism's capturing of movement on a static picture plane and an at least partial alignment with early Constructivism's desire to create art as an instrument for social purposes. A distinct optimism and effusive energy abound in Gili's presentation and a highly contemporary sense of Modernism explodes forth.


Jaime Gili was born in Caracas, Venezuela where he began his visual studies.  He then moved on to Barcelona to the Universidad de Barcelona where he earned his undergraduate and doctorate degrees in Fine Arts before ultimately moving to London to receive a Masters from the Royal College of Art.  Recent exhibitions include the 6th Annual Biennial of Mercosul in Porta Alegre in Brazil, Desconfia at the University of California, and the highly successful Indica show at Riflemaker in London. In 2005 Jaime Gili caused traffic chaos in London's Oxford Street with the 700,000 triangular pieces he installed in Selfridges store windows. In 2006, he created the six-mile Ruta Rota (broken route), an installation of buses from Southwark Cathedral in the South to St.Paul's in the East.  Recent press includes reviews in Artforum, The Times, Frieze, Time Out, and ArtPapers .  We are very pleased to announce Jaime Gili's debut New York solo exhibition.

 

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