It is no coincidence that Yoshihiko Kitano’s exhibition (Osaka, Japan, 1960) is entitled “Series of traditional Japanese colors on oil cubic canvases”, because the entire creative process of this artist lies in the combination of a nostalgic emotional tone with the problematization of painting and its sculptural drifts. In his work Kitano, which he exhibits for the first time in Spain, although previously he did it in different galleries of Osaka and Tokyo, he builds a bridge between painting and sculpture, or erases the distinction between one and the other, as Donald Judd advocated. “The real space has three dimensions,” explains Judd, “and thus ends the problem of illusionism and literal space, the space of brands and colors, and the space around them.” The minimalism brought as a consequence the end of pictorial purity, and although it cannot be properly considered a break, some of the symptoms pointed to important changes: art began to look at the navel, reflecting on itself, and a formalistic model was consummated.
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