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Still of documentary titled ‘Kusama–Infinity’. In a gallery room with polka dot stickers, Kusama in her thirties or forties wearing waist length black hair and a red skin-tight bodysuit stand on a tiptoe with arms open, as if dancing with the five mannequins around her. On the walls and floor of the room, the mannequins and herself are colour polka dot stickers.

Kusama–Infinity

Details

Programme: Kusama's Infinite Universe

Year: 2018

Director: Heather Lenz

Format: DCP / Category IIB / 80 min.

Language: Multiple (with Chinese and English subtitles)

Audience: Everyone

Location: House 1

Accessibility:

More Info:

Ticket Information
Standard: HKD 85
Concession: HKD 68

Still of documentary titled ‘Kusama–Infinity’. In a gallery room with polka dot stickers, Kusama in her thirties or forties wearing waist length black hair and a red skin-tight bodysuit stand on a tiptoe with arms open, as if dancing with the five mannequins around her. On the walls and floor of the room, the mannequins and herself are colour polka dot stickers.

Kusama–Infinity

Infinity is one of the guiding themes found throughout the works of Japanese artist Yayoi Kusama. Born in rural and secluded Matsumoto, where going beyond the mountains and having a glimpse of the ocean is ‘the dream’, Kusama first envisioned her paintings Infinity Nets while flying over the Pacific Ocean on a journey that eventually led her to the New York City art scene. Kusama–Infinity illuminates the artist’s determined and fearless character that endures cycles of rejections, deceit, and mental turmoil. In her own words, Kusama unveils her pioneering involvements in Pop Art, Fluxus, and immersive installations. She decodes the obsessional and psychosomatic visual language of accumulation, evident in works such as Accumulation No. 1 (1962) and Self-Obliteration (1966–1974).

Still of documentary titled ‘Kusama–Infinity’. The senior Kusama wearing a bright-red chin-length bob and a bright-red top sit in front of a table, holding a paint brush with red paint on the side. Covering the table and the wall behind her are her signature drawing of colourful patterns.

Heather Lenz. Kusama–Infinity, 2018. Photo: Courtesy of Edko Films Ltd.

Still of documentary titled ‘Kusama–Infinity’. A white gallery room with white furniture and electronic appliances such as sofas, a coffee table, and a television cabinet. Everything is covered with dense colourful round stickers. The densest are on the walls and the coffee table while some are also seen on the ceiling.

Heather Lenz. Kusama–Infinity, 2018. Photo: Courtesy of Edko Films Ltd.

Still of documentary titled ‘Kusama–Infinity’. The senior Yayoi Kusama wearing a bright-red chin-length bob and a top with hot pink and black polka dots sits in front of a table, drawing on the table with a black marker against a background of her signature black and white polka dot.

Heather Lenz. Kusama–Infinity, 2018. Photo: Courtesy of Edko Films Ltd.

Still of documentary titled ‘Kusama–Infinity’. In a dim gallery room, the ceiling, walls and the floor are covered with mirrors. Huge colourful glowing sculptures with black polka dots extends from the ceiling and the floor, whose curvy shapes look like worms or tenacles of octopuses. With sculptures reflected multiple times by the mirrors, the room appears to be infinitely large.

Heather Lenz. Kusama–Infinity, 2018. Photo: Courtesy of Edko Films Ltd.

Still of documentary titled ‘Kusama–Infinity’. A black-and white image of Kusama in her thirties or forties with waist-length hair. She is standing next to a car with a round paper in both hands, turning her head to look at the camera. Round papers are also seen sticked on the car window and body.

Heather Lenz. Kusama–Infinity, 2018. Photo: Courtesy of Edko Films Ltd.

Heather Lenz. Kusama- Infinity, 2018. Photo: Courtesy of Edko Films Ltd.

Still of documentary titled ‘Kusama–Infinity’. The senior Kusama wearing a bright-red chin-length bob and a bright-red top sit in front of a table, holding a paint brush with red paint on the side. Covering the table and the wall behind her are her signature drawing of colourful patterns.

Heather Lenz. Kusama–Infinity, 2018. Photo: Courtesy of Edko Films Ltd.

Still of documentary titled ‘Kusama–Infinity’. A white gallery room with white furniture and electronic appliances such as sofas, a coffee table, and a television cabinet. Everything is covered with dense colourful round stickers. The densest are on the walls and the coffee table while some are also seen on the ceiling.

Heather Lenz. Kusama–Infinity, 2018. Photo: Courtesy of Edko Films Ltd.

Still of documentary titled ‘Kusama–Infinity’. The senior Yayoi Kusama wearing a bright-red chin-length bob and a top with hot pink and black polka dots sits in front of a table, drawing on the table with a black marker against a background of her signature black and white polka dot.

Heather Lenz. Kusama–Infinity, 2018. Photo: Courtesy of Edko Films Ltd.

Still of documentary titled ‘Kusama–Infinity’. In a dim gallery room, the ceiling, walls and the floor are covered with mirrors. Huge colourful glowing sculptures with black polka dots extends from the ceiling and the floor, whose curvy shapes look like worms or tenacles of octopuses. With sculptures reflected multiple times by the mirrors, the room appears to be infinitely large.

Heather Lenz. Kusama–Infinity, 2018. Photo: Courtesy of Edko Films Ltd.

Still of documentary titled ‘Kusama–Infinity’. A black-and white image of Kusama in her thirties or forties with waist-length hair. She is standing next to a car with a round paper in both hands, turning her head to look at the camera. Round papers are also seen sticked on the car window and body.

Heather Lenz. Kusama–Infinity, 2018. Photo: Courtesy of Edko Films Ltd.

Heather Lenz. Kusama- Infinity, 2018. Photo: Courtesy of Edko Films Ltd.

About the Director

Heather Lenz (b. United States) is a writer, director, and producer. Growing up in Ohio, Lenz first developed an interest in experimental filmmaking as a Fine Arts and Art History undergraduate. Her documentary narratives revolve around trailblazer and underdog figures across art, design, and science, reflected in her shorts Back to Back (2001) and Intertwined Lives (2003). Lenz was awarded The Women’s International Film and Television Showcase Foundation International Visionary Award in Documentary Film with Kusama–Infinity in 2019.

Image at top: Heather Lenz. Kusama–Infinity, 2018. Photo: Courtesy of Edko Films Ltd.

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