Jaime Gili


For his solo debut, “Jaime Gili Makes Things Triangular,” the London-based Venezuelan artist made good use of Soho gallery Riflemaker’s funky, atmospheric exhibition space. Still redolent of the gunsmith’s shop it once was, this is no white cube. And for heaven’s sake watch your step on the treacherously dark stairs to the basement viewing room. Gili installed his paintings chockablock, with massive freestanding ones dividing up the room and black-and-white offset posters covering the ceiling. It was as if he wanted each work to distract us from the others: The effect was somewhere between the Suprematist “0.10” exhibition of 1915 and a festival of abstract graffiti.

Nearly hidden amid the seductive clutter was a small and somewhat anomalous work, Filosofía del Entendimiento / Homenaj a Cruz-Diez, 2006, that nonetheless provides a clue to Gili’s intentions. It consists of a pair of shelves

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