Step into infinite space

Tate presents a rare chance to experience two of Yayoi Kusama’s Infinity Mirror Rooms. These immersive installations will transport you into Kusama’s unique vision of endless reflections.

Infinity Mirrored Room – Filled with the Brilliance of Life is one of Kusama’s largest installations to date and was made for her 2012 retrospective at Tate Modern. It is shown alongside Chandelier of Grief, a room which creates the illusion of a boundless universe of rotating crystal chandeliers.

A small presentation of photographs – some on display for the first time – provides historical context for the global phenomenon that Kusama’s mirrored rooms have become today.

Born in 1929 in Matsumoto, Japan, Kusama came to attention for her happenings in 1960s New York and a wide-ranging artistic practice that has encompassed installation, painting, sculpture, fashion design and literary writing. Since the 1970s she has lived in Tokyo, where she continues to work prolifically and to international acclaim.

Yayoi Kusama: Infinity Mirror Rooms is presented in The George Economou Gallery. This exhibition is in partnership with Bank of America.
Curated by Frances Morris, Director and Katy Wan, Assistant Curator, Tate Modern

29 MARCH 2021 – 27 MARCH 2022

Image: Yayoi Kusama Chandelier of Grief 2016/2018 Tate Presented by a private collector, New York 2019 © YAYOI KUSAMA


Yayoi Kusama. Infinity Mirrors

Yayoi Kusama: Infinity Mirrors is a celebration of the legendary Japanese artist’s sixty-five-year career and promises to be one of 2017s essential art experiences. Visitors will have the unprecedented opportunity to discover six of Kusama’s captivating Infinity Mirror Rooms alongside a selection of her other key works, including a number of paintings from her most recent series My Eternal Soul that have never been shown in the US. From her radical performances in the 1960s, when she staged underground polka dot “Happenings” on the streets of New York, to her latest Infinity Mirror Room, All the Eternal Love I Have for the Pumpkins, 2016, the Hirshhorn exhibition will showcase Kusama’s full range of talent for the first time in Washington, DC. Don’t miss this unforgettable sensory journey through the mind and legacy of one of the world’s most popular artists.

Infinity Mirror Rooms
Yayoi Kusama had a breakthrough in 1965 when she produced Infinity Mirror Room—Phalli’s Field. Using mirrors, she transformed the intense repetition of her earlier paintings and works on paper into a perceptual experience. Over the course of her career, the artist has produced more than twenty distinct Infinity Mirror Rooms, and the Hirshhorn’s exhibition—the first to focus on this pioneering body of work—is presenting six of them, the most ever shown together. Ranging from peep-show-like chambers to multimedia installations, each of Kusama’s kaleidoscopic environments offers the chance to step into an illusion of infinite space. The rooms also provide an opportunity to examine the artist’s central themes, such as the celebration of life and its aftermath. By tracing the development of these iconic installations alongside a selection of her other key artworks, Yayoi Kusama: Infinity Mirrors aims to reveal the significance of the Infinity MIrror Rooms amidst today’s renewed interest in experiential practices and virtual spaces.

Yayoi Kusama: Infinity Mirrors
February 23, 2017 – May 14, 2017
Hirshhorn Museum and Sculpture Garden
Independence Avenue at 7th Street, SW
Washington, DC
2nd Level

Image: Yayoi Kusama, “Aftermath of Obliteration of Eternity,” 2009. Collection of the artist. Courtesy of Ota Fine Arts, Tokyo/Singapore; Victoria Miro, London; David Zwirner, New York. © Yayoi Kusama


GESTURES – Women in action

A Merano Arte
dal 6 febbraio al 10 aprile 2016
La mostra
GESTURES – Women in action

Conferenza stampa: venerdì 5 febbraio 2016, ore 11.00
Inaugurazione: venerdì 5 febbraio 2016, ore 19.00

A cura di: Valerio Dehò

La mostra “GESTURES – Women in action”, in programma dal 6 febbraio al 10 Aprile 2016 a Merano Arte, presenta 40 opere – fotografie, video, oggetti e collage – che ripercorrono le espressioni più significative della Body Art femminile dagli anni Sessanta ad oggi. Sono lavori che esplorano il tema del corpo femminile impiegato come mezzo espressivo primario per veicolare un pensiero di protesta e sovvertimento dei valori costituiti, realizzati dalle più importanti esponenti della Body e Performance Art attive già dagli anni Sessanta e Settanta, quali Yoko Ono, Marina Abramovic, Valie Export, Yayoi Kusama, Ana Mendieta, Gina Pane, Carolee Schneemann, Charlotte Moorman, Orlan, alle esperienze più recenti di artiste quali Sophie Calle, Jeanne Dunning, Regina José Galindo, Shirin Neshat, Silvia Camporesi e Odinea Pamici.

Di natura volutamente effimera e legate al qui ed ora dell’accadimento, oltre che svolte in epoche e contesti socio-culturali specifici, molte delle creazioni di queste artiste hanno natura essenzialmente concettuale e sono arrivate a noi attraverso riproduzioni in forma fotografica o filmica oppure attraverso la conservazione di oggetti impiegati in occasione delle azioni. La mostra testimonia un percorso artistico tortuoso, attraverso il quale le donne protagoniste del movimento della Body Art, hanno mutato profondamente il corso dell’arte contemporanea.
L’abolizione dei confini tra teatro, spettacolo, comunicazione e arte, è stata importante per palesare vari aspetti che riguardavano la condizione della donna nel mondo. Con la Body Art le donne si sono affermate come grandi protagoniste di questa rivoluzione culturale e la loro presenza nell’arte è diventata fondamentale, manifestandosi in molti paesi come scelta politica per la parità di genere proprio negli anni cruciali del movimento femminista. Le loro opere hanno sviluppato un approccio che intendeva abolire la distanza tra artista e pubblico, facendo dell’arte un fondamento della comunicazione sociale, uno specchio e un laboratorio dei cambiamenti in atto. Il pubblico non era più considerato uno spettatore passivo, ma parte integrante dell’opera stessa.
L’esposizione si sviluppa in senso cronologico, fatta eccezione per l’androne del museo e la piattaforma dalla quale si ha accesso alle sale, dove è esposto il violoncello dell’artista e musicista americana Charlotte Moorman e il video che mostra la performance in cui l’artista ha impiegato tale strumento. Sulla grande parete che dal piano terra accompagna i tre piani espositivi, campeggia una grande fotografia di Marina Abramovic.Continue Reading..


Yayoi Kusama: Infinity Theory


Yayoi Kusama: Infinity Theory

June 12–August 9, 2015

Garage Museum of Contemporary Art presents the first solo exhibition of Japanese artist Yayoi Kusama in Moscow. Plunging the spectator into a series of extraordinary, immersive environments, the exhibition will offer Garage visitors a unique sensory and psychological experience that will extend from the West Gallery into the Auditorium and out into Gorky Park.

Yayoi Kusama: Infinity Theory features two of the artist’s groundbreaking installations: Infinity Mirrored Room–The Souls of Millions of Light Years Away (2013), consists of a room with mirrored walls filled with thousands of small lights, which appear as pulsating dots. These are infinitely reflected in the mirrors to create an illusory cosmos, which is experienced by a lone viewer, enabling each visitor to momentarily get lost in Kusama’s mesmerizing world. Conversely, the installation Guidepost to the Eternal Space (2015) invites audiences to gather amidst an environment in which white polka dots on a red background cover walls and structures, forming an outlandish landscape, confusing viewers’ perception and spatial orientation.

Complimenting the installations, Walking Piece (1966), which is one of Kusama’s earliest works, is a slide film, which shows the artist walking the streets of New York in a traditional Japanese kimono with a parasol. In Garage Auditorium, a film of the performance Kusama’s Self-Obliteration (1967) will be presented weekly. One of Kusama’s best known works, it shows how the artist covers the objects, animals, and people around her with endless colored dots. Beyond the Museum, an urge to extend her artistic gesture into the world outside the gallery is what inspired Ascension of Polkadots on the Trees, a project that Kusama has taken to various public spaces around the world. In Gorky Park, trees in avenue will be wrapped in red cloth decorated with white polka dots.Continue Reading..


Yayoi Kusama. Give Me Love

For the exhibition the artist presents new paintings from the celebrated My Eternal Soul series, new polka-dotted pumpkin sculptures, and the seminal installation The Obliteration Room from 2002.

David Zwirner is pleased to present Give Me Love, the gallery’s second exhibition with Yayoi Kusama in New York. On view in two spaces, 519 and 525 West 19th Street, will be new paintings from the celebrated My Eternal Soul series, new polka-dotted pumpkin sculptures, and the artist’s seminal installation The Obliteration Room from 2002.

Widely recognized around the world, with a recent survey of museum attendance ranking her as the most popular artist in 2014, Kusama has shaped her own narrative of postwar and contemporary art. Minimalism and Pop art, abstraction and conceptualism coincide in her practice, which spans painting, sculpture, performance, room-sized and outdoor installations, the written word, films, fashion, design, and architectural interventions.

Born in 1929 in Matsumoto, Japan, Kusama briefly studied painting in Kyoto before moving to New York City in the late 1950s. She began her large-scale Infinity Net paintings during this decade, and went on to apply their obsessive, hallucinatory qualities to her three-dimensional work. Her iconic polka dots, organic shapes, and optical environments display an unparalleled vitality that becomes hypnotic and self-referential, merging concepts of flatness and depth, presence and absence, and beauty and the sublime. In a unique style that is both sensory and utopian, Kusama’s work possesses a highly personal character, yet one that has connected profoundly with large audiences around the globe, as throughout her career she has been able to break down traditional barriers between work, artist, and spectator.

Kusama continues her recent series of large-format, square My Eternal Soul paintings with a group of canvases conveying extraordinary vitality and passion. With titles such as Fear of Youth Overwhelmed by the Spring Time of Life, I Who Have Taken an Antidepressant, and My Longing, the Unseen Land of Death, the compositions acquire an autobiographic, even confessional dimension. The bold brushstrokes and swirly shapes seem to hover between figuration and abstraction; vibrant, animated, and intense, they transcend their medium to introduce their own pictorial logic, at once contemporary and universal. As such, while they continue Kusama’s innovative exploration of form, subject matter, and space, they also represent a connection to her work from the past six decades.Continue Reading..