Yayoi Kusama / Yayoi Kusama. Giappone – XLV Biennale di Venezia, 1993
KUSAMA Yayoi (Matsumoto, Japan 1929), Venezia, The Japan Foundation, 1993, 30x22,5 cm., softcover, pp. [52], illustrated cover and volume, catalog with an essay in Italian and English by Akira Tatehata (Magnificent Obsession) and a biography and list of the exhibitions of the artist. Published on the occasion of the exhibition (Venezia, XLV Venice Biannale - Japanise Pavilion, from June 13 to October 10, 1993)
KUSAMA Yayoi (Matsumoto, Japan 1929), Venezia, The Japan Foundation, 1993, 30x22,5 cm., softcover, pp. [52], illustrated cover and volume, catalog with an essay in Italian and English by Akira Tatehata (Magnificent Obsession) and a biography and list of the exhibitions of the artist. Published on the occasion of the exhibition (Venezia, XLV Venice Biannale - Japanise Pavilion, from June 13 to October 10, 1993)
KUSAMA Yayoi (Matsumoto, Japan 1929), Venezia, The Japan Foundation, 1993, 30x22,5 cm., softcover, pp. [52], illustrated cover and volume, catalog with an essay in Italian and English by Akira Tatehata (Magnificent Obsession) and a biography and list of the exhibitions of the artist. Published on the occasion of the exhibition (Venezia, XLV Venice Biannale - Japanise Pavilion, from June 13 to October 10, 1993)
"This exhibition (the first to honor a single artist in the Japan pavilion) is an attempt to accurately reassess the quality of her achievement without undue emphasis on her legendary eccentricity. The exhibition includes work from her early sixties period in New York up through the present. It is not intended as a retrospective, but examples from her formative period are included in order to provide an understanding of the overall quality of her work, based on sexual and psychological obsessions and consistently motivated by the desire for obliteration of the self. Kusama's œuvre ranges from paintings and three-dimensional objects to environments and happenings, all characterized by "the monotony of repetition." Her obsessive approach is characterized by the use of polka-dots. It is as if Kusama were trying to cover the entire with polka-dots in the tremendous volume of her art." extract from the essay by Akira Tatehata
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