Monday, May 18, 2009

Yayoi Kusama at the Gagosian

Infinity-Nets Zssatt, 2008

Gagosian is celebrating Kusama's 80 years of life in simultaneous exhibits of new work in L.A. and New York. On the walls in the Chelsea edition are new iterations of Kusama's characteristic "Infinity Net" paintings. For Kusama, the repetition in these nets becomes a device for qualifying the nature of an infinite continuity. Although the Gag's press release does raise an interesting note regarding the "inherent philosophical paradox" of this method, "that 'infinity' could be quantified within the arbitrary framework of a readymade canvas". But Kusama has already proven that she is not confined by the convenience of canvas works. I nearly cried for the opportunity to be enclosed in a new mirrored infinity room, entitled Aftermath of Obliteration of Eternity. The room seems to offer up Kusama's vocabulary for dissection. To her, eternity only pertains to the material reality, which is vulnerable to time and age; whereas infinity is bestowed on the metaphysical reality, impervious to all. The dull glow of specially designed lights hang, projecting to infinity against a blanket of black nothing, like souls that remain after the vessels have ceased to be. In other words, the fabric may decay but the weave is indestructible.

Yayoi Kusama for Louis Vuiton

Also hoping to get in on Ms. Kusama's birthday celebrations are the makers of this artdoc, Princess of Polka Dots. [Website][Trailer]

Although I can't see why you would watch a cache of talking heads hawk a paraphrased press release. All that could be said could be even more illuminatingly surmised by watching Kusama's own thesis, "Self Obliteration," which was photographed and edited by Jud Yalkut. And is available on YouTube in three parts. [Part 1][2][3].

Alice in Wonderland Happening, Alice in Wonderland statue, Central Park, New York, 1968.

On a personal note, Kusama came into my spectrum while examining 60's happenings in NYC. I became enamored with her Alice in Wonderland Happening in Central Park. She came up again when a painting professor saw one of my notebooks (obsessively adorned with peeled price tags) and pointed me to YK's airmail stamp accumulations (one of which is also currently on view at MoMA's Drawing Show). It was these simple works that solidified her as kindred in my aspect.


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