Norberto Gil’s “The Accurate Limit” of Kyoto’s Katsura Villa

Galería Estampa in Madrid is holding an exhibition of Gil’s latest works: a series of paintings in which the artist’s overimposed planes of colour describe the interiors of the Katsura Villa, the Japanese Imperial Family’s famous palace in Kyoto.

 

Divisiones, 2016. Acrílico sobre papel. 152 x 100 cm. © Galeria Estampa

Divisiones, 2016. Acrílico sobre papel. 152 x 100 cm. © Galeria Estampa

 

The Galería Estampa gallery in Madrid is showing an exhibition of Spanish artist Norberto Gil’s latest work –  a series of paintings of the Katsura Imperial Villa in Kyoto. Gil’s work is geometrical, minimalist and colourful, transforming spaces and vistas into sophisticated overlapping planes of colour.

In this series of paintings of the Katsura Villa, the visitor can witness a sort of transfiguration of the actual spaces in the villa thanks to the artist’s personal approach, inspired by the work of Kazimir Malevich as well as other artists of the avant-garde.


 

Practical information

Katsura Villa. The accurate limit
December 14, 2016 – January 31, 2017
Galería Estampa
Calle Justiniano, 6
28004 Madrid

 


Here is a short excerpt of the exhibition’s brief, written by curator Luis Francisco Pérez:

During the past year, Norberto Gil has been working on a series of paintings inspired by the Palace of Katsura as well as the gardens that surround the buildings, traditionally considered as a jewel of Japanese traditional architecture belonging to the Imperial family.

 

Alero Katsura, 2016. Acrílico sobre papel. 152 x 100 cm. © Galería Estampa

Alero Katsura, 2016. Acrílico sobre papel. 152 x 100 cm. © Galería Estampa

Guriddo, 2016. Acrílico sobre papel. 152 x 100 cm. © Galería Estampa

Guriddo, 2016. Acrílico sobre papel. 152 x 100 cm. © Galería Estampa

Ima Magenta, 2016. Acrílico sobre papel. 152 x 100 cm. © Galeria Estampa

Ima Magenta, 2016. Acrílico sobre papel. 152 x 100 cm. © Galeria Estampa

Ishii, 2016. Acrílico sobre papel. 152 x 100 cm. © Galeria Estampa

Ishii, 2016. Acrílico sobre papel. 152 x 100 cm. © Galeria Estampa

Katsura Exterior, 2016. Acrílico sobre papel. 152 x 100 cm. © Galeria Estampa

Katsura Exterior, 2016. Acrílico sobre papel. 152 x 100 cm. © Galeria Estampa

 

This is the series that we can now publicly contemplate as a translation made by the artist of the original Katsura Villa, since the pictorial discipline is essentially a linguistic translation of a given or invented reality into another that emerges illuminated by the conceptual displacements created by the artist.

 

Katsura Shoji, 2016. Acrílico sobre papel. 152 x 100 cm. © Galeria Estampa

Katsura Shoji, 2016. Acrílico sobre papel. 152 x 100 cm. © Galeria Estampa

Katsura Portica, 2016. Acrílico sobre papel. 152 x 100 cm. © Galeria Estampa

Katsura Portica, 2016. Acrílico sobre papel. 152 x 100 cm. © Galeria Estampa

Katsura Rikyu, 2016. Acrílico sobre papel. 152 x 100 cm. © Galeria Estampa

Katsura Rikyu, 2016. Acrílico sobre papel. 152 x 100 cm. © Galeria Estampa

Katsura Tenjo, 2016. Acrílico sobre papel. 152 x 100 cm. © Galeria Estampa

Katsura Tenjo, 2016. Acrílico sobre papel. 152 x 100 cm. © Galeria Estampa

Katsura Tenjo 2, 2016. Acrílico sobre papel. 152 x 100 cm. © Galeria Estampa

Katsura Tenjo 2, 2016. Acrílico sobre papel. 152 x 100 cm. © Galeria Estampa

 

In this sense, the Katsura Palace no longer belongs to the Japanese imperial family, but to a Sevillian artist of the 21st century, and by extension to the spectators who approach and enter into this new transfigured reality carried out by the Artist when he decides to show us his work.

 

Misawa, 2016. Acrílico sobre papel. 152 x 100 cm. © Galeria Estampa

Misawa, 2016. Acrílico sobre papel. 152 x 100 cm. © Galeria Estampa

Musikomado, 2016. Acrílico sobre papel. 152 x 100 cm. © Galeria Estampa

Musikomado, 2016. Acrílico sobre papel. 152 x 100 cm. © Galeria Estampa

Serie Tatami , 2016. Acrílico sobre papel. 152 x 100 cm. © Galeria Estampa

Serie Tatami , 2016. Acrílico sobre papel. 152 x 100 cm. © Galeria Estampa

Serie Tatami 2,, 2016. Acrílico sobre papel. 152 x 100 cm. © Galeria Estampa

Serie Tatami 2,, 2016. Acrílico sobre papel. 152 x 100 cm. © Galeria Estampa

 

In these paintings, and where the original architecture has been defeated by other weapons, there are many planes. In fact the whole series is a great Plane. Serge Daney, the most intelligent and complex theoretician of cinema in the twentieth century, was very right when he stated that “Let’s not make pictures, let’s make plans”. Images are never too much, of course, because we can no longer live without them, but we are much more served, in a richer and more generous way,  by general planes, since they are the ones offered by the comprehensive discourses and structures of knowledge .

 

Serie Tatami 3, 2016. Acrílico sobre papel. 152 x 100 cm. © Galeria Estampa

Serie Tatami 3, 2016. Acrílico sobre papel. 152 x 100 cm. © Galeria Estampa

Serie Tatami 4, 2016. Acrílico sobre papel. 152 x 100 cm. © Galeria Estampa

Serie Tatami 4, 2016. Acrílico sobre papel. 152 x 100 cm. © Galeria Estampa

Tainoya , 2016. Acrílico sobre papel. 152 x 100 cm. © Galeria Estampa

Tainoya , 2016. Acrílico sobre papel. 152 x 100 cm. © Galeria Estampa

Tenjo, 2016. Acrílico sobre papel. 152 x 100 cm. © Galeria Estampa

Tenjo, 2016. Acrílico sobre papel. 152 x 100 cm. © Galeria Estampa

Tenjo Abierto, 2016. Acrílico sobre papel. 152 x 100 cm. © Galeria Estampa

Tenjo Abierto, 2016. Acrílico sobre papel. 152 x 100 cm. © Galeria Estampa

 

In our artist’s Katsura Villa we contemplate a strange and very productive baroque interpretation of the “zero degree” of Kazimir Malévich’s very architectural planes and architectures.

Click here to se the exhibition’s catalog.


News source: Galería Estampa
Subscribe here to get weekly updates about architecture events and exhibitions