'Poems are like sentences that have taken their clothes off.' Marlene Dumas' poetic and sensual refrain accompanies her figurative watercolours on view in Possibilities for a Non-Alienated Life, the fourth edition of the Kochi-Muziris Biennale (KMB) in the southern state of Kerala, India (12 December 2018–29 March 2019).Dumas' new series...
The paintings of Ellen Altfest are ethereal in their detail. Fields of minutiae come together as pulsating images; small brushstrokes of oil paint accumulate over a series of months to single out seemingly innocuous subjects, such as a hand resting atop patterned fabric (The Hand, 2011) or a deep green cactus reaching upwards from beneath a bed of...
On the rooftop of the former Rio Hotel complex in Colombo, it was hard to ignore the high-rise buildings, still under construction, blocking all but a sliver of what used to be an open view over Slave Island, once an island on Beira Lake that housed slaves in the 19th century, and now a downtown suburb. The hotel was set alight during the...
Victoria Miro is delighted to present a major new exhibition by Yayoi Kusama. Spanning the gallery’s three locations and waterside garden, the exhibition features new paintings – including her important, ongoing My Eternal Soul series and signature Infinity Nets – iconic pumpkin sculptures, and immersive mirror rooms, all conceived specially for this presentation.
These new works reflect her lifelong preoccupation with the infinite and sublime, as well as the twin themes of cosmic infinity and personal obsession, as found in pattern and repetition.
For Wharf Road she has created three mirror rooms: All the Eternal Love I Have for the Pumpkins, Chandelier of Grief and Where the Lights in My Heart Go.
New paintings displayed alongside these immersive rooms continue an enduring preoccupation with multiplying polka dots and dense scalloped ‘infinity net’ patterns – Kusama’s obsessive repetition of these forms on canvas, which she has described as a form of active self-obliteration, responds to hallucinations first experienced in childhood. The pumpkin, another motif that she has returned to throughout her career, is also present in the form of new mirror polished bronze sculptures.
Yayoi Kusama has developed a practice which, though it shares affiliations with Surrealism, Minimalism, Pop art, the Zero and Nul movements, Eccentric Abstraction and Feminist art, resists any singular classification. Born in Matsumoto City, Japan in 1929, she studied painting in Kyoto before moving to New York in the late 1950s, and by the mid-1960s had become well known in the avant-garde world for her provocative happenings and exhibitions. Since this time, Kusama's extraordinary artistic endeavours have spanned painting, drawing, collage, sculpture, performance, film, printmaking, installation, and environmental art as well as literature, fashion (most notably in her 2012 collaboration with Louis Vuitton), and product design.
Yayoi Kusama is currently the subject of a museum tour throughout Northern Europe, from Louisiana Museum of Modern Art, Humlebaek, (2015-2016) to Henie Onstad Kunstsenter, Oslo (2016); Moderna Museet, Stockholm (2016) and Helsinki Art Museum (2016-2017). Recent survey exhibitions include Infinite Obsession, 2013-2015, which was seen by over two million people during its two-year tour in South America; A Dream I Dreamed andEternity of Eternal Eternity which travelled to institutions across Asia from 2013-2015 and 2012-2014, respectively. Yayoi Kusama, a major retrospective, was presented from 2011 to 2012 at the Museo Nacional Centro de Arte Reina Sofía, Madrid; Centre Pompidou, Paris; Tate Modern, London; and Whitney Museum of American Art, New York. Kusama represented Japan at the 45th Venice Biennale in 1993.
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