Translated from Spanish
Extract from inteview by Pablo León de la Barra with Jaime Gili (…) To be honest, I work a lot from painting; from the two-dimensional. Playing with planes is perhaps the only way that I have to be able to understand the three dimensional space. I admire how my mother, a wonderful seamstress, perfectly understands how a piece of fabric with a specific form can wrap around, drop on or cover a body. That is a mastery of the three-dimensional that I don’t possess. (…) There is no plan or specific project. I sense how I will finish a painting but I don’t plan it out. I am more about testing directly than planning and trying to duplicate on the canvas. Everything happens so fast in a painting. One single painting is made of hundreds of quickly executed small projects. (…) The same as with some interventions, I emphasize architectural elements and people pay more attention. The same happens with painting: when I apply the paint on a space in a certain way, I am making the color on the fabric, the space and profoundness that it could have, become more evident.
Extraído de una entrevista a Jaime Gili por Pablo León de la Barra (…) La verdad es que trabajo muy desde la pintura, desde las dos dimensiones. Jugar con los planos es quizá la única manera que tengo de entender el espacio tridimensional. Admiro como mi madre, maravillosa costurera, entiende perfectamente como un trozo de tela con una forma determinada puede envolver, caer o cubrir un cuerpo. Esa es una maestría de lo tridimensional a la que no llego. (…) No hay un plan, un proyecto específico. Intuyo como va a terminar la pintura pero no la planeo. Soy más de probar directamente que de planear e intentar repetir en la tela. En una pintura todo sucede muy rápido. Una pintura se compone de cientos de pequeños proyectos rápidamente ejecutados. (…) Al igual que con algunas intervenciones subrayo elementos de arquitectura y la gente se fija más en ella, con la pintura pasa lo mismo: al colocar la pintura de cierta manera en un espacio, estoy haciendo que se haga más evidente en la tela el color, la cuestión espacial y la profundidad que pueda tener.
Selected Biographical Information
Education / Training
- Ph.D., Universidad de BARCELONA. Thesis finished 2001 [info Español]: ‘Repetition and Seriality from 1960. From recurrence to multiplication’ (doctorat’05 special prize).
- 1996 – 1998: M.A., Royal College of art -Painting- London, UK.
- 1997: Erasmus, Hochschule der Kunste, Berlin, Germany.
- 1990-1995: B.F.A., Degree. Facultad de Bellas Artes, Universidad de Barcelona, Spain.
- 1994: Erasmus, École Nationale superièure des Beaux-Arts, Paris, France.
- 1989: Prodiseño, Caracas, Venezuela.
Prizes / Fellowships
- 2010: Medalla al mérito Civil alcaldía de Sucre-Caracas.
- 2009: Art all Around, Maine Center for Creativity, Portland, Maine.
Solo Exhibitions
- 2014: “Title tbc”, Alejandra von Hartz, Miami, USA.
- 2014: Oficina #1, Periférico Caracas, Venezuela.
- 2013: “Droits de Succession”, Oficina#1, Caracas, Venezuela.
- 2011: “The Lakes”, Riflemaker, London, UK. (catalogue)
- 2010: “Jaime Gili Afuera”, Periférico Caracas, Caracas, Venezuela.
- 2009: “Everything is Borrowed”, Alejandra von Hartz Gallery, Miami, FL, USA.
- 2009: “COMMA04”, Bloomberg SPACE, London, UK.
- 2009: “Bill at Pittier”, Kunsthalle Winterthur, Winterthur.
- 2008: “Superestrellas”, Riflemaker, London, UK.
- 2007: “Jaime Gili – Superstars”, Buia Gallery, NY, USA.
Group Exhibitions
- 2013: “Horizontal”, La Central, Bogotá, Colombia.
- 2013: “Ex-Culturas”, Periférico Caracas, (Curated by Félix Suazo), Caracas, Venezuela.
- 2012: “Red, White, and Blue – Pop, Punk, Politics, Place”, Chelsea Space, London, UK.
- 2010: “Newspeak’ Saatchi Gallery”, (catalogue) London, UK.
- 2010: “Demons Yarns and Tales”, James Cohan Gallery, NY, USA.
- 2009: “Coalesce Happenstance”, Smart, Amsterdam.
- 2008: “John Moores 25”, Liverpool Biennial, Walker Art Gallery, Liverpool, UK.
- 2008: “XI salón jóvenes con FIA”, Curated by Lorena González. Corpbanca, Caracas, Venezuela.
- 2008: “The expanded painting show”, (Curated by Paco Barragán). Space Other, Boston, UK.
- 2007: “6a bienal do mercosul’ – ‘tres fronteiras”, (Curated by Gabriel Pérez-Barreiro and Ticio Escobar) Porto Alegre (BR) (catalogue).
- 2007: “jump cuts – coleccion banco mercantil”, Cifo Miami(catalogue), USA.
Publications
- Apóstol, Alexander y González, Lorena. “El arte venezolano en las instituciones de fin de siglo” El País, 14 Marzo 2013, Madrid.
- Guidobono, Rafaela (Ed) The Detour Book, moleskine, Milano 2012, ISBN 978-8866130062
- León de la Barra, Pablo, Martínez and Trees Editors. Jaime Gili Repetition. Booksfromthefuture, London 2012. ISBN 978-0-9573509-0-8
- Bracewell, Michael and Smith, Donald. Red White and Blue. Pop Punk Politics Place Chelsea Space, London 2012 ISBN 978-1-906203-66-5
- Dillon Tamsin, Ed. The Roundel. 100 Artists Remake a London Icon. Transport for London, London 2012. ISBN 978-1-908970-01-5
- Mann, Robin et Al. The Lakes Riflemaker Books, London, 2011. ISBN 978-0-9563571-7-5
- Day, Elizabeth, Et al. Friendship of the Peoples. Simon Oldfield Gallery. London, 2011. ISBN 978-0-9568329-2-4
- González, Lorena. « Jaime Gili » El Nacional, Martes 15 Febrero 2011, Caracas, Venezuela.
- Suazo, Félix. Et al.Histórica. Memoria y Territorio. Colección Mercantil. Banco Mercantil, Caracas 2010. ISBN 978-980-6699-14-4
- VVAA. Newspeak: British Art Now. Saatchi Gallery, London. 2009 ISBN 978-1-861543141
- Muellen Marianne, Et al. Concrete Geometries, The Relational in Architecture. Architectural Association, London 2011.
- Smith, Roberta. «To a Tapestry’s Warp and Weft, Add Vision and Craft». New York Times. January 25, 2010.
- Susanna Haddon et al. EAST 17, Norwich Gallery. NSAD. Norwich, ISBN 1-872482-86-4, 2009.
Collections
- Colección Cisneros, Caracas, Venezuela.
- Cifo, Miami, USA.
- Saatchi Gallery, London, UK.
- University of Essex Collection of Latin-American Art, (UECLAA) Essex, UK.
- Universitat de Barcelona, Barcelona, Spain.
- L’Oreal. Madrid, Spain.
- Banco Mercantil, Caracas, Venezuela.
- Sayago & Pardon, USA.
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- Jaime Gili, “Art all Around”, 2009 ongoing, Design for 16 industrial storage tanks, Industrial paint and materials, 26,000 m2, South Portland, Maine. Photo credit: Georgia Flanagan.
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- Jaime Gili, “Canónico y Contemporáneo”, 2011, Site-specific mural for commercial display of Colonial Art in Caracas, Variable dimensions. Caracas, Venezuela. Photo credit: Don Manuel Sardá.
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- Jaime Gili, “Canónico y Contemporáneo”, 2011, Site-specific mural for commercial display of Colonial Art in Caracas, Variable dimensions. Caracas, Venezuela. Photo credit: Don Manuel Sardá.
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- Jaime Gili, “Diamante de las Semillitas”, 2010, Oil on stainless steel Variable dimensions. Barrio José Félix Ribas, Petare, Caracas,Venezuela. Photo credit: Manuel Sardá.
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- Jaime Gili, “A198 Godoy”, 2013, Series: A, Acrylic on linen, 45 x 35 cm. Photo credit: Courtesy of the artist.
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- Jaime Gili, “A222 La Britten”, 2013, Series: A, Acrylic on linen, 45 x 35 cm. Photo credit: Courtesy of the artist.
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- Jaime Gili, “A230 La Mecánica”, 2013, Series: A A (Ponti Reverón Vegas), Acrílico sobre jute, 140 x 200 cm. Photo credit: Courtesy of the artist.
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- Jaime Gili, “VW Golf MK1 Cabrío”, In progress, Automotive paint on automobile, Varied Dimensions, Europe. Photo credit: Courtesy of the artist.
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- Jaime Gili, “Mashrabiya (Comma 04) at Bloomber Space”, 2008, Vinyl on glass and wall, eight stories, Varied dimensions, Bloomberg Space London (destroyed), Photo credit: Courtesy of the artist.
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- Jaime Gili, “Mashrabiya (Comma 04) at Bloomber Space”, 2008, Vinyl on glass and wall, eight stories, Varied dimensions, Bloomberg Space London (destroyed), Photo credit: Courtesy of the artist.
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- Jaime Gili, “A238 La Macuto-Cannes”, 2013, Series: A (Ponti Reverón Vegas).
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- Jaime Gili, “M12 ANA”, 2009, Acrylic on wall, aprox 5 x 5 m. Photo credit: Courtesy of the artist.
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- Jaime Gili, “Sail”, 2012, Design for Type 1 star ex-olympic sail, 5 m high, Portsmouth. Photo credit: Vestalia Chilton.
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- Jaime Gili, “Salve”, 2009, Enamel on wooden boat, aprox 4.5 m x 2 m x 1.5 m, Manzanillo, Nueva Esparta, Venezuela, Photo credit: Courtesy of the artist.
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- Jaime Gili, “Lucía”, 2006, Series: A, Acrylic on canvas, 268 x 230 cm. Photo credit: Courtesy of the artist.
It has always been about the overlap between form and politics for me. I believe I need to occupy my own place in the world while taking responsibility for the way I do this, I have chosen to be an artist-this was not imposed upon me-and so I understand form to be my concern. I try to stay in the realm of the visual and the sensible as a means of defending that space itself, a space constantly open to redefinition-one in which subjectivity can be played out. This is why self-reflexivity can be important. To me it is a political stance. If one could say that art is concerned with the imagination, I believe that how imagination is formed is a pertinent question that also speaks to society in a larger sense. The ways we imagine and how we are conditioned to imagine are both artistic and political concerns to me.
Traducido del inglés
Para mí, siempre ha sido acerca de la superposición de la forma y la política. Creo que tengo que ocupar mi propio lugar en el mundo mientras me responsabilizo de la forma en la que lo hago. He elegido ser una artista—esto no fue impuesto sobre mí—así que entiendo la forma como interés. Intento permanecer en el ámbito de lo visual y lo sensible como modo de defender ese espacio, un espacio constantemente abierto a las redefiniciones, en el cual la subjetividad puede ser representada. Es por esto que la auto-reflexión puede ser importante. Es para mí una postura política. Si uno pudiera decir que el arte está interesado en la imaginación, creo que la manera en la que se forma la imaginación es también una pregunta pertinente que tiene que ver con la sociedad en un amplio sentido. Las formas en las que imaginaos y cómo estamos condicionados a imaginar son preocupaciones artísticas y políticas para mí.
Selected Biographical Information
Education / Training
- 2005: Rijksakademie van beeldende kunsten/Dutch Ministry of Education, Culture and Science.
- 2003: Instituto Universitario Nacional del Arte, Buenos Aires, Argentina.
- 2003: Escuela Nacional de Bellas Artes P.P. (I.U.N.A.), Buenos Aires, Argentina.
- 2001-2003: Clínica de Obra con Tulio de Sagastizabal.
Prizes / Fellowships
- 2011: Recipient of the Cisneros Fontanals Foundationʼs Grants & Commissions Program.
- 2011: Winner of Art Rotterdam, Illy Prize.
- 2007: Ayudas 07, Spain, C.C. Montehermoso.
- 2007: Certamen, Spain, Explum.
- 2005: Ministry of Foreign Affairs, The Netherlands.
- 2004: Madrid Abierto, Spain, Mention of the Jury.
- 2004: UNESCO-Aschberg, Germany.
- 2004: Bursaries for Artists programme Fundación Antorchas, Argentina.
Solo Exhibitions
- 2013: “Low Visibility”, Johann König, Berlin, Germany.
- 2013: Museo Tamayo, Mexico City, Mexico.
- 2013: Museum of Contemporary Art, Chicago, IL, USA.
- 2013: List Visual Arts Center, Cambridge, MA, USA.
- 2012: Chisenhale Gallery, London, UK.
- 2012: “Amalia Pica – On paper”, Basis, Frankfurt.
- 2012: “For Shower Singers”, Modern Art Oxford, GB.
- 2012: “Chronic Listeners”, Kunsthalle Sankt Gallen, Switzerland.
- 2011: University of Michigan Museum of Art, Ann Arbor, MI, USA.
- 2011: “Endymion’s Journey”, Marc Foxx Gallery, Los Angeles, USA.
Group Exhibitions
- 2013: “Emmy Moore’s Journal”, Salts, Basel, Switzerland.
- 2013: “The Future Generation Art Prize“, Venice 2013, Palazzo Contarini Polignac, Venice, Italy.
- 2013: Aspen Art Museum, Aspen, CO, USA.
- 2013: “Silence, Berkeley Art Museum, University of California, USA.
- 2013: “When Attitudes Became Form Became Attitudes”, Museum of Contemporary Art Detroit, MI, USA.
- 2013: “Version Control”, Arnolfini, Bristol, GB.
- 2013: “Ruins in Reverse”, Tate Modern, London, UK.
- 2012: “Common Ground”, Public Art Fund, New York, USA.
Publications
- Amalia Pica. Edited by Joao Ribas, Julie Rodrigues Widholm, MIT List Visual Arts Center, Museum of Contemporary Art Chicag.
- Jacob Proctor: Amalia Pica. In: Artform, January 2013, p. 81.
- Amalia Pica in the studio with Charlotte Bonham-Carter. In: Art in America, June/July 2012, pp. 150-157.
- Amalia Pica. Edited by Malmö Konsthall, 2011.
Links
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- Amalia Pica, “Untitled (tiles), 2006, Beer coasters, Variable dimensions. Installation view Modern Art Oxford, GB, 2012
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- Amalia Pica, “Untitled (tiles), 2006, Beer coasters, Variable dimensions. Installation view Modern Art Oxford, GB, 2012
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- Amalia Pica, “Eavesdropping”, 2011, Glasses, glue, 198 x 731.5 x 20.3 cm, Unique (large version), Installation view New Museum, New York, 2011. Photo credit: Benoit Pailley
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- Amalia Pica, “Some of that colour #4”, 2011, Paper flags, drained paper, flag dye on watercolor paper, chair, 200 x 400 x 150 cm. Image courtesy of Marc Foxx
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- Amalia Pica, “Stage (as seen on Afghan Star)”, 2011, Cardboard, tape, spotlight, motion sensor, lighting gel, 25.4 x 279.4 x 279.4 cm
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- Amalia Pica, “Stage (as seen on Afghan Star)”, 2011, Cardboard, tape, spotlight, motion sensor, lighting gel, 25.4 x 279.4 x 279.4 cm
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- Amalia Pica, “Venn Diagrams (under the spotlight)”, 2011, Spotlight on tripod, motion sensor, lighting gel, graphite on wall, Variable dimensions, Installation view List Visual Arts Center, Cambridge, MA, USA
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- Amalia Pica, “Venn Diagrams (under the spotlight)”, 2011, Spotlight on tripod, motion sensor, lighting gel, graphite on wall, Variable dimensions, Installation view List Visual Arts Center, Cambridge, MA, USA
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- Amalia Pica, “Stabile (with confetti)”, 2012, Paper and transparent adhesive tape, Variable dimensions. Photo credit: Kunst Halle Sankt Gallen, Gunnar Meier
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- Amalia Pica, “A intersection B intersection C”, 2013, Variable dimensions, Installation view and performance shot: Museo Tamayo, Mexico City, Mexico
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- Amalia Pica, “Catachresis # 41 (eye of the needle, head of the nail, teeth of the comb)”, 2013, Found materials, 34 x 27 x 187 cm, Unique. Photo credit: Roman März. Image courtesy of the artist and Johann König, Berlin
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- Amalia Pica, “Catachresis # 44 (legs of the chairs)”, 2013, Found materials, 64 x 44 x 55 cm, Unique. Photo credit: Roman März. Image courtesy of the artist and Johann König, Berlin
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- Amalia Pica, “Playing solo and indoors (mechanical jump rope)”, 2013, Steel, motor, rope, 207 x 126 x 600 cm, Unique. Photo credit: Roman März. Image courtesy of the artist and Johann König, Berlin
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- Amalia Pica, “Reconfiguration #1”, 2013, Installation with gerahmten collages ( frame, paper, glue), frames each 39,5 x 29,5 x 4 cm, overall 150 x 950 x 4 cm. Unique. Photo credit: Roman März. Image courtesy of the artist and Johann König, Berlin
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- Amalia Pica, “Shutter telegraph (as seen on TV)”, 2013, Wood, screws, iron, white paint, 242.5 x 135.2 x 139.2 cm. Unique. Photo credit: Roman März. Image courtesy of the artist and Johann König, Berlin
