This fall prestigious Beyeler Basel Foundation will celebrate the great retrospective of the Japanese artist Yayoi Kusama (1929, Matsumoto, Japan). The famous building of Renzo Piano will house, for four months, seven decades of the body of his artistic work. You will invite you to take a tour from your earliest works, Never seen in Europeuntil its more recent jobs.
The exhibition will also have its ICONIC WORK INFINITE MIRROR ROOM. These repetitive structures such as Mirrors, mole or infinite networks They transport the viewer to a sense of expansion without limits. A exciting route that will show the various artistic techniques that Kusama has used as tools to develop their creativity, But, above all, like narcotic of his madness.
Yayoi Kusama carries 50 years dwelling In a psychiatric institution in Tokyowhich has not been an impediment to carrying out a prolific career, both Artistic as literary. In their writings, in which the images do not stop sprouting, he says that falls sick after creating a work. Fluctuates between sensations of reality and unreality In an obsessive process. Suffers auditory and visual hallucinations.
From his childhood I had episodes in which I saw auras in objects and heard the plants and the animals already. when this happened, he returned home to To be able to draw in his notebook what he had seenbefore the appearances vanished. Being able to channel hallucinations in this way He softened his fear and printing towards those episodes. This was The origin of their paintings.
Recreating these appearances was a way to control them. His work is The relief of what is inside her. Kusama suffered from a condition known as depersonalization, As if the soul separated from your body. This happens when reality is too distressing and The mind produces defenses to escape suffering. For Kusama this depersonalization is more painful than Any infernal reality.
And Conservative postwar Japan, with a narrow, feudalist and anchored in retrograde traditions such as concerted marriagesproduced in Kusama a Obsessive desire to escape New York in search of broader horizons. His art needed unlimited freedom. The advice of a doctor who had treated his illness and who insisted that he should get away from your mother not to get your neurosisbecause the relationship with his mother was always very difficult, it was definitive to leave Japan. Seattle was the first American city which he reached. That’s where he successfully presented his First solo exhibition in 1957. Two years later his desire for Expose in New York.
A conservative postwar Japan, with a narrow, feudalist and anchored in retrograde traditions, produced in Kusama an obsessive desire to escape New York
This sample, obsessive monochrome, in the Brata Gallery, It consisted of a set of paintings with its characteristic infinite networks. These white repetitions on black, lacking composition and disconcerting monotony, at the same time produce a feeling of vertigo before the void and a deep feeling of Hypnotic peace. His artistic career had just taken off. But when I had finally arrived in New York, what was found was a city stressful, aggressive and violentwhich caused him to be destined to acute neurosis.
Worked from dawn to night in their infinite networksa monotonous repetition that he performed in full severe neurotic episodes. In the hospital they advised him to go to a mental institution for Receive psychiatric help. But what he did in his place was compulsively.
He filled the canvases with repetitive motifs, to continue painting the tables, the ground, the walls until he ends up covering his body. That process, as expresses in her writings, ends up burying her, what she calls obliteration. Such as when Cover your entire polka dotsthe background or a horse and end up disappearing and integrating into an timeless whole.
In the hospital they advised him to go to a mental institution to receive psychiatric help. But what he did in his place was to paint compulsively
Los lunar they became the imprint of the Happenings Kusama. Those networks wrapped her and made her forgot. Creating art was the way to relieve the disease and fight pain and daily fear. In 1961 Kusama found a New expression mode Artistic in the Soft sculpture His first exhibition was a armchair and an eight -legged couch covered with falo -shaped bump -shaped bumps.
According to Kusama, creating these sculptures repetitively was a way to cure a feeling of terror to the sixeither. Reproduction was a kind of Self -time therapy to which he gave the name of “psychosomatic art.” Reproducing those objects again and again was a way of overcome fear. In sum, in Yayoi Kusama we attended an eloquent manifestation of the relationship between psychic alteration and artistic expressivenessas well as certain Therapeutic and cathartic potentialities of art.
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