From selfie to infinity: Yayoi Kusama’s amazing technicoloured dreamscape, Chari Larsson, δημοσίευση στο The ConversationMarilena Pateraki
Yayoi Kusama is arguably Japan’s most famous living artist. Born in 1929, she is one of the few practising artists whose work spans the most important “isms” of the 20th century. At the same time, her work is undeniably contemporary. For decades, her dazzling mirror and polka-dot infused installations, or “Infinity” rooms have enthralled audiences.
First developed in 1965, the mirrored interiors multiply and reflect, expanding outwards ad infinitum. This vertiginous, almost hallucinatory experience has evolved to become trademark Kusama and feels incomplete without the now mandatory selfie in this ever expanding universe of dots, lights and mirrors.
After an astonishing 65 years of artistic output, a new survey exhibition of her work has just opened at Brisbane’s Gallery of Modern Art (GOMA). Importantly, it provides a historical context to these rooms, tracing key strains in Kusama’s artistic development. Co-curated with the Singapore National Art Gallery, the exhibition cements GOMA’s long association with the artist. Kusama’s Narcissus garden (1966/2002) is a much-loved icon in the permanent collection. The scores of silver mirrored balls provide endlessly reflective surfaces as they float serenely in GOMA’s Watermall.
Kusama enthusiasts will be delighted with new works created this year such as the enormous balloons floating mid-air in GOMA’s long gallery. The balloons are coloured in Kusama’s distinctive yellow and black polka dots, welcoming the visitor to the exhibition with a weightless, ethereal presence.
Για περισσότερα δες εδώ.