Yayoi Kusama at the Tate Modern

82 year-old Yayoi Kusama’s colourful, large, all encompassing works are, at first glance, fun, vibrant and exciting. Delve deeper into the Japanese artists’ paintings, sculptures and installations and you see an overwhelming struggle with obliteration, patriarchy and self-space spanning over six decades.

Kusama is Japan’s most famous living artist and made her name in New York in the 50s and 60s when she produced flowers with spiky inners and threatening red caves -- seen currently at the Tate Modern’s exhibition until 5 June.

Since 1977 Kusama has lived voluntarily in a psychiatric institution, and many of the works shown at the Tate are marked with obsessiveness and a desire to escape from psychological trauma. In an attempt to share her experiences, she creates installations that immerse the viewer in her obsessively charged vision of endless dots and nets or infinitely mirrored space.

It is after the Tate reveals this fact that the works become more disturbing and Kusama’s mental illness is highlighted with the repetitious, hallucinogenic, ominous nature of the spots and phallic, spongy white shapes covering inane objects.

She is renowned for her “environments’ and this exhibition is one after the other, with seeminingly no escape.

As the 1960s progressed, Kusama moved from painting, sculpture and collage to installations, films, performances and ‘happenings’ as well as political actions, counter-cultural events, fashion design and publishing.

The exhibition includes Kusama’s iconic film Kusama’s Self-Obliteration 1968, capturing this period of performative experimentation -- one of the more disturbing parts of the exhibition!

The last work -- before which a Tate worker asks if “you have seen the whole exhibition?” prior to letting you in -- is a new installation and a highlight of the exhibition for me. Infinity Mirrored Room - Filled with the Brilliance of Life 2011, is Kusama’s largest mirrored room to date and is filled with hanging lights changing colour creating infinite space and movement.

Susan Hiller – Tate Britain

If you have a Punch and Judy phobia, I would advise you not to go to the Barbara Hiller exhibition at the Tate. In fact, if you LOVE Punch and Judy I would advise you to at least stay away from the video installations...as it may ruin your beloved childhood memories.

The huge video screens playing repeated, distorted images of the seaside puppets, accompanied with disturbing phrases, are the parts of Hiller’s exhibition that stick in my mind. There is however some slightly less obscure pieces to enjoy (such as the work above).

Hiller’s obsession with identity, language, history and documentation is apparent throughout her work. On reaching one room you’re greeted by another – slightly less disturbing but no less striking– sound/video installation, playing clips from the world’s lost languages. This was such an intriguing installation, conveying lost identity, words, languages and dreams.

Witness

The second installation displaying Hiller’s wordy cleverness is mesmerising. My friend and I could have spent hours walking around each speaker in, Witness (above). The glittering cables hang down in a blue-lit room, with speakers playing an array of languages. Walking round till your ears pick up a familiar tone is intriguing and engaging.

Hiller continually questions, what happens after? After you are gone? After the language has disappeared? The questions add a poignancy to her work, displayed clearly in Monument (below). The cross shaped work has blown up photographs of epitaphs saying phrases like: Henry James Bristow, aged eight, who "saved his little sister's life by tearing off her flaming clothes but caught fire himself".

Monument


If you can get past the Punch and Judy, Hiller’s – age 70 – retrospective is an engaging insight into poignant imaginings of an experienced master.

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Gabriel Orozco

My new Tate members card has been fully utilized of late - a fantastic present idea for any arty types - after I moved to London. The card allows freebies, discounts of cafes, use of members rooms and, most importantly, free entry to any Tate exhibition (with a friend too!).

I was aware of Gabriel Orozco's more well known works such as My Hands are my Heart (below) and Black Kites, but I'd never had the opportunity to view his collection of photography, installation and sculpture all at once. His latest show at the Tate Modern gives you an insight into his playful, provocative style on a huge scale.

My Hands are my Heart (1991)

The vast collection of vivacious photography and coltish sculpture such as LA D.S - a car seemingly a reflection of itself - is a joy to behold (below) and accessible for everyone.

LA D.S

The poignant, touching and funny obituaries with quotes such as "bassist and mock politician", "a painter of poetic realism" and "a cowgirl till the end" leads you to want to read them all (below).

Obituaries and Black Kite

So whether you're a fan already, or new to Orozco, his playful, interactive, stimulating works are a must see for all in this rare opportunity to see his vast collection of works.

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