It took more than a decade to develop this documentary dedicated to one of the most influential artists of the last 50 years.
American filmmaker Heather Lenz is set to release commercially her first feature documentary Infinity, a poignant and timely tribute to Yayoi Kusama.
Lenz began writing a script for the project back in 2001, with the intention of creating a film that could shed light on Kusama’s legacy and portray her human side.
At last, after years of development, the documentary finally came out earlier this year, being nominated for the Grand Jury Prize in the documentary category at the Sundance Film Festival and gathering so far five other nominations around the world.
AND now it’s finally coming to Australia with select cinemas screening the film from December 26.
Australian cinemas screening ‘Infinity’:
Dendy Newtown, Sydney
Dendy Canberra, ACT
Cinema Nova, Melbourne
Newfarm Cinema, Brisbane
State Cinema, Hobart
Luna Leederville, Perth
Yayoi Kusama is one of the most intriguing figures in the art scene of the last century. Raised in an incredibly conservative environment, she escaped her unsupportive family in 1958 when she was 29 and fled to NYC to hustle for a career.
Japanese society was “too small, too servile, too feudalistic, and too scornful of women,” said the Japanese artist, now 89, in an interview for the Wall Street Journal in 2017.
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All hail #YayoiKusama, de Japanse prinses van de polkadot 🧡 Woensdag (19:30) zie je in @rialto_film documentaire Kusama: Infinity, over haar leven en instafamous kunstwerken. Wie heeft ooit haar spiegelkamer (@boijmans) bezocht zónder een kiekje te maken?⠀ ⠀ #kusama #infinityroom #polka
During her time in the US, she managed to establish herself as a distinctive artist with a powerful voice, one of the visible names of the American avant-garde movement.
It was in America where she gathered notoriety for her series of Mirror/Infinity rooms; complex installations in purposefully built mirrored rooms that feature a score of brightly coloured spheres that simulate dots.
These balls are placed sometimes on the floor, sometimes hanging at various heights above the viewer. When the observer stands inside the room on a small platform, the dots of the balls reflected in the mirrors create the illusion of a never-ending, infinite space.
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Split post: Colourful installations (dots and stripes) Pictures 1-6: Yayoi Kusama – My Heart is Dancing Into the Universe at Victoria Miro I was lucky enough to visit this show for a second time and managed to take better pictures Pictues 7-10: Jim Lambie – Zobop at Tate Liverpool #kusama #kusamayayoi #yayoikusama #yayoikusamaexhibition #victoriamirogallery #infinityroom #art #gallery #artgallery #artexhibition #artshow #timeoutlondon #installation #installationart #artinstallation #modernart #contemporaryart #artlover #travel #artgram #artoftheday #travelphotography #londongallery #artscene #instaart #kunst #artnow #fineart #colours #reflection
During the ’60s Kusama was famous for her innovative and striking installations, presiding the famous happening Homosexual Wedding at the Church of Self-obliteration at 33 Walker Street in New York and performing alongside Rock n Roll giants Fleetwood Mac at the Fillmore East.
Kusama also made headlines during the decade for offering to have sex with Richard Nixon if he stopped the Vietnam war.
Despite being a notable figure of the American art scene for decades, and influencing a flurry of artists that go from Andy Warhol to Yoko Ono, her name faded into obscurity in the 80s, and it’s just until recent years that the world is re-discovering her rich legacy again, prompting homages and retrospectives all over the world.
An artist that was not particularly known for being much of a seller during the time in the US, over the past decade her work has performed strongly at auctions, with her work Flame of Life – Dedicated to Tu-Fu (Du-Fu) selling for US$960,000 (A$1,334,000) at Art Basel/Hong Kong in May 2013, turning into the most expensive living female artist.
The documentary Kusama: Infinity has garnered good reviews this year during its festival run this year and was picked up by Magnolia Pictures and Magnet Releasing, so expect to see it in Australian theatres in 2019.