Riverside Studios collaborates with The Art Hound Gallery for the second time with this new provocative exhibition: Bad Reputation. It features an entirely new collection of artworks by some of the most exciting contemporary artists in the country. Inspired by the Rock and roll queen Joan Jett for the title, ‘Bad Reputation’ features badass female artists and celebrates awesome women who dare to kick back. It includes a variety of works such as a wonder woman poster of the graphic designer and Illustrator Barry D Bulsara, the new collection ‘Bad Girl’ from the father and son artist duo ‘Grow Up’,  displaying skateboarders on road signs. We also see custom hand-blown neons by superstar British artist Lauren Baker. The artwork that can be seen from outside the studio while walking towards the entrance, would intrigue you to walk in and watch the entire exhibition – they are provoking and asserts women’s power. Among many others, there is Naomi Wallens’ photograph ‘All The Girls In London’, captured on an impromptu photo shoot on a cold January morning at 4 am on the streets of Dalston. Her work challenges female conformity.

Naomi Wallens’ new ‘Good Girls’ collection created exclusively for this exhibition could be a new discovery for so many. Each of the artworks of her collection portrays a well-known pop star such as Miley Cirus, Rihanna, Lady Gaga, provokingly and daringly looking at the viewer. They are surrounded by slogans such as ‘break the rules’, ‘I want to celebrate the pieces of myself’. These representations highly contrast with the usual pictures of the pop-stars in their designer attires for the MET gala. In this new collection, Naomi Wallens explores the complexities of societal pressures of conformity and the profound impact this has on our ability to feel connected to our own selves.

A special mention goes to The Riverside Studio. As you walk in, you discover a warm and comfortable atmosphere where you can attend a variety of music gigs, cinema, theatres and exhibitions. This is a perfect spot to enjoy one of their events or to head into their cinema to watch a film. Ending it all with a walk on the river bank. The Riverside Studio is a meeting place in a loving neighbourhood where you will be able to discover new artists as well as enjoy the convivial atmosphere.

‘Bad Reputation’ is an art exhibition, inspired by badass female artists and celebrates women’s powerful behavior. It will run until April 18th 2022 at the Riverside Studio, London.

Learn more about this venue and get your tickets for their events at https://riversidestudios.co.uk/see-and-do/bad-reputation-14542/.

Reviewed by Alix Berthelot–Moritz- Alix is a volunteer writer for Abundant Art. Originally from Normandy, France, she follows her passion for journalism and art by studying at the European Political and Social Sciences of UCL, London. As an international student living in London, she is determined to fully experience and discover the entirety of the city’s vibrant arts scene and share the beauty of it through her writing

Sadler’s Wells “Wild Card” gives young  and upcoming artists the opportunity to design their own night and share their voices. On January 20th, the stage was given to Akeim Toussaint Buck for his Wild Card “Radical Visions”. The event contained two live dance performances, a premiere of Toussaint’s short film “Displacement” and a final shared experience of dance and spiritualism. An evening of dance that explored the realities of social inequality and identity crisis faced by immigrant communities in England, all within a universe of creativity and celebration of cultures.

The show opened on Alethia Antonia’s solo “Inscribed in ‘Me’”, a  mesmerising performance filled with intimacy and passion that explored the themes of trauma and identity. This loss and search for identity were reflected in every aspect of the choreography, from the changes and cuts in the music to the portrayed hesitations and variations of the style of dancing to the powerful acapella singing performance. The most blatant aspect of identity remains the change of costumes: initially, the dancer was adorned with a regal black fishnet costume that went all the way up to her face like a muzzle, a majestic yet terrifying costume that she subsequently replaced with modern plain clothes found in a mysterious box filled with clothes. The dance revolved mostly around that object, as the woman seems tormented yet curious about this box of Pandora, of which she ended up frantically throwing around all the clothes before the stage faded to black.

The second dance “Black Is…” was put on stage in the quartet of the studio Fubunation in a rhythmical and collective dance choreographed by Rhys Dennis and Waddah Sinada. The four dancers performed in perfect unison and acted as a unique living entity with some instances of interaction where they would support and push forward each other with mellifluous movements. However at instances, the collective spell would suddenly break, and a single dancer would wake up from this shared trance and stop dancing in a timid revolt and discovery of their individuality. Their awakening wouldn’t last long, and they would suddenly fall back in the fluid and balanced flow of the collective dance.

The second act of the evening was a screening of Toussaint Buck’s short film “Displaced” which cinematically reinterpreted his dance solo “Windows of Displacement”. The film beautifully blended cinematography, dance and spoken word to convey an extremely powerful message of race, identity, power and hopefulness. A sort of personal manifesto from Buck that drew from his personal relationship to dance, his Jamaican origins, his experience in the United Kingdom and his life philosophy. A personal and intimate journal, yet extremely universal as it told the story of the reality of the thousands of marginalised lives that still exist today. The scenes where Toussaint dances on the beach (they were not Jamaican beaches) in a majestic white costume are intertwined with scenes of public settings such as a supermarket, a laundrette or a playground. The adjacency of the two universes shows the nostalgic contrast of the freedom of movement and expression in the large Jamaican tundra and the confined restraint and gloom of the city, whilst also representing the dancer’s clashing national identities. Overall, the goal of the movie is to sensitise it’s viewers through the act of sharing their hope, culture and zest for life.

In an age where political parties are as divergent as ever on the questions of immigration, Toussaint’s “radical visions” offer an alternative: communion instead of division. Sharing a culture instead of carrying on the mentality of division and marginalisation that is currently predominant, all through the beautiful and universal medium of dance.

Image credit: Camilla Greenwell

Check out the next upcoming show at Sadler Wells at https://www.sadlerswells.com/whats-on/.

Reviewed by Céline Galletti- Celine is a volunteer writer for Abundant Art. Originally from France and Italy, she follows her passion for writing and art by studying Comparative Literature at UCL, London. As an international student living in London, she is determined to fully experience and understand the city’s vibrant arts scene, and be a part of its creative storm.

About Akeim Toussaint Buck

Akeim Toussaint Buck is an interdisciplinary performer and maker, born in Jamaica and raised in England. Akeim’s intention is to create moving, thought-provoking, accessible and free-spirited projects. The work challenges, enlightens and entertains in a visceral way, calling on multiple art forms to tell the story. Audiences are invited to not just observe: they are implicit in the experience. His work aims to reflect on reality, looking at ongoing socio-political issues, with a humanitarian intention.

Since graduating from the Northern School of Contemporary Dance with a Bachelor’s degree in Performing Arts, Akeim has been involved in multiple cross-disciplinary programmes with a wide range of artists and communities from around the world. The aesthetic of his work combines: dance, creative writing, film, poetry, beat-box, singing and acting. Fused to tell stories capable of bridging the gaps between a variety of audiences.

Akeim’s movement interest has a myriad of inspirations, from Capoeira, Kick Boxing, Contemporary Dance, Contact Improvisation, Caribbean Dance, Hip Hop, Yoga and Release Technique to name a few. His performance focus expands from the physical to vocal expression. Building on an interest in the voice’s expressive qualities, with current explorations of beatboxing and vocal improvisation.

Recent achievements include becoming Irie Dance Theatre’s, Artist in Residence for 2019-2020, becoming the Artist for Northern School of Contemporary Dance, Yorkshire Dance and Spin Arts’ Catapult 2019. Thanks to Deda Theatre in Derby where Akeim has been recently appointed Associate Artist 2020-2021, gaining more support in his work. Thanks to Geraldine Connor Foundation where Akeim is an Associate Artist. Attaining a Seed Commission for piloting Beatmotion Mass for Leeds Year of Culture 2023.

Akeim’s work has been supported by Yorkshire Dance, Leeds Playhouse, Leeds Inspired, IRIE! Dance Theatre, Spin Arts, Serendipity, NSCD, Sadler’s Wells and Arts Council England. His choreographic work includes: Snakebox’s PLAY, Windows Of Displacement, Reckoning, Sib Y Osis, Beatmotion, Souls & Cells etc. Film work includes Galvanise & Displaced.

Instagram/Twitter/Facebook:
@toussainttomove

www.toussainttomove.com

Well known for her distinctive patterns and colourful works Bridget Riley’s ‘The Pleasures of Sight’ exhibition features her ground-breaking black and white checkerboard paintings and more recent colourful, striped and curved paintings. Celebrating  Bridget Riley’s 90^th Birthday and 60-year career, this exhibition explores the artist’s love of sight. When I visited her exhibition I was definitely seeing things in a new way and it felt different and refreshing. Her art in general is mesmerizing. What look like simple and beautiful paintings are powerful and engaging and have a sense of wonder about them that I really love. Bridget Riley is perhaps one of the best-known artists who thrives on manipulating our ‘ways of seeing’.

A lot of Riley’s art incorporates optical illusions and gives you the impression that the art is moving, swirling or pulsing and you feel like the paintings are still but moving. You are forced to feel the sensations that colours and shapes do to you and re-consider the mundane with the intensity of looking. I felt like my sense of sight was taking over. Whether Riley was born with a creative eye or learned her unique way of seeing and thus creating, it’s as if she’s teaching us to look harder and deeper and learn or re-learn the art of seeing.

Examples from the 1960’s to the present day with oils and prints include Movement in squares, Red Movement, Untitled (Fragment 1), Song of Orpheus and her newest piece Ecclesia as shown.

Riley’s investigation of colour and form and her interactions between colours (harmonious or not) is fascinating, especially if you’re genuinely interested and curious about colour relationships like me. Designed by Marks Barfield Architects, who also did the Millenium wheel, The Lightbox Gallery is a friendly and relaxing place to visit and now Riley’s work is there it’s a great excuse to wander down there.

This exhibition was sponsored by Bonhams Fine Art Auctioneers and Valuers. All works © Bridget Riley, 2022.

Explore the artist’s enduring exploration of colour, structure and perception by booking your day pass here: https://www.thelightbox.org.uk/bridget-riley-pleasures-of-sight

Written by Julia Nelson who does marketing and operations for Abundant Art.

I was directly immersed into the heavy atmosphere of a police station where I could see pictures of the crime scene and the evidence and feel the heat of Summer in the USA. By way of a flashback, Bart Lambert (starring as Nathan Leopold) narrates how his friendship with Jack Reitman (starring as Richard Loeb) led to a murder. The tension in the room went up as we understood that we are witnessing the beginning of a power relationship between two young boys. I was impressed by Bart Lambert’s acting: I could feel his heartbeat racing every time Richard was touching him and I was shaking with him as he was scared of getting caught. I completely understood how dependent Nathan was on Richard. He played the character to perfection – this young man madly in love with his friend. I was kept on tenterhooks from the beginning to the end, hoping that they would not commit an irredeemable act. Step by step, it became more evident that they were heading for disaster. In the end, both roles are madly obsessed: one about the robbery and the other about his friend.

I enjoyed how the transition between the present and the past is smoothly done enabling the spectator to understand the entanglement of the story. I was impressed by the tension among the characters and how it was enhanced by the music coming from the piano and their voices. The musical ends up in a dazzling scene where the two characters merged their voices to be as one. The musical enables us to grasp the complexities of their relationship and I could not help but feel sad to see how far someone could go for love.

This dark and thrilling musical is performed by two prodigious actors who will leave you speechless. It will run until 5th February 2022 at the Jermyn Street Theatre, London. Learn more about it and get your tickets at: https://www.jermynstreettheatre.co.uk/show/thrill-me/

The image was taken by photographer Steve Gregson.

Reviewed by Alix Berthelot–Moritz- Alix is a volunteer writer for Abundant Art. Originally from Normandy, France, she follows her passion for journalism and art by studying at the European Political and Social Sciences of UCL, London. As an international student living in London, she is determined to fully experience and discover the entirety of the city’s vibrant arts scene and share the beauty of it through her writing

The Roundhouse recently hosted the In the Round festival, which showcased eight performances and ran from the 15th to the 24th of January. On Monday 18th, the stage was taken over by the post-punk band Goat Girl, preceded by two support acts by Flaneuse and PVA. Goat Girl is an eccentric band of post-punk music, composed by bassist Holly Hole (Holly Mullineaux), vocalist and guitarist Clottie Cream (Lottie Pendlebury) and guitarist L.E.D. (Ellie Rose Davies). The trio showcased all their talent and charisma with a performance that delighted fans and definitely won over the hearts of those who had come to discover them.

The venue’s unique circular structure has the seats surrounding the round stage in an arena-like setting that gives a certain intimacy to the performance. Having the artists at the centre of the room with the liberty of movement at 360° degrees was highly entertaining. The show opened with two supporting acts by Flaneuse and PVA, whose ethereal and dreamlike performances acted as a perfect prelude for the night. They welcomed and introduced the audience to the musical universe of sonic experimentation that we were about to experience that night.

The pattern of the show was easily identifiable: it put on stage young talented musicians, with the artistic and alternative vibe so distinctive of the punk-artsy youth of London. Flaneuse, whose serene and dreamy tracks you can listen to on Soundcloud, was a delightful new discovery for the public. Followed the trio PVA, who gave a performance full of sentiment that mixed funky digital music, instruments and mumbled vocals.

Finally, Goat Girl’s awaited appearance on stage was welcomed by loud cheers from the audience and didn’t disappoint. Their one-hour performance was a whirl of cord instruments and electronic music that was as melodic as it was sinister. Their psychedelic colourfulness mixed with dark and unsettling elements flawlessly expressed all the contrasting emotions and angst of being young. Despite its seeming absurdity and surrealism, their songs always dig deeper and are a way for the band to express their political concerns. Climate change, mental health, Black Lives Matter, British politics, feminism, and transphobia: the trio is not scared to voice their opinion on a patchwork of different political issues that matter to them. With this curious mix of bizarre “outerworldness” and grounded politics, Goat Girl beautifully gives voice to the uncertainty of a young generation trying to find their way in a broken world.

Check out our interview with the band’s Holly Hole here: https://www.abundantart.net/all-interviews/goat-girl-headline-in-the-round-festival-tonight-at-the-roundhouse-in-conversation-with-the-bands-holly-hole/ 

For more info about In the Round festival 2022 go to:  https://www.roundhouse.org.uk/whats-on/2022/in-the-round-festival-2022/  

Reviewed by Céline Galletti- Celine is a volunteer writer for Abundant Art. Originally from France and Italy, she follows her passion for writing and art by studying Comparative Literature at UCL, London. As an international student living in London, she is determined to fully experience and understand the city’s vibrant arts scene, and be a part of its creative storm.

Matthew Bourne’s Nutcracker now on its 30^th year returns to the stage at Sadler’s Wells. Re-choreographed substantially from its 1992 presentation with some of its iconic designs re-thought to spectacular effect, it is a 21^stcentury Classic in its own right!

The show begins with an introduction to Dr. Dross’s orphanage, a dreary place where tiles are missing from the walls. The scene is overwhelmed with greys and whites and dark tones. The orphans are given all kinds of colourful Christmas gifts. A disgruntled Clara shakes the seemingly empty gift basket when, to her surprise and childish delight, a nutcracker doll tumbles out. This is when the story begins. Matthew Bourne’s version of the Nutcracker is filled with all sorts of unexpected twists and turns, a new story adapted to the 21st century that still stays true to the original classic.

At night, when everybody is asleep and the toys locked away, Clara tiptoes out of bed and snatches the key to the cupboard off its hook. She creeps over to unlock the doors, which tower over the sleeping orphans, and the Nutcracker bounces out. Clara stares in shock as he dances around stiffly, with new life brought to his once-wooden body. He wakes the orphans. They flock in a startled cluster from one side of the stage to the other. The matrons of the orphanage run onstage, hearing the commotion. The orphans revolt and the Nutcracker leads them out of the window and away into the snowy night. Soon, the set is transformed, and a dreamlike backdrop appears – we are introduced to the Frozen Lake.

The set is enveloped with soft smoke, merged with the light and shade. Princess Sugar and Prince Bob-Bon then take the stage in a duet dappled with gentle white lighting. Ballerinas emerge from the smoky haze and the scene is filled with delicate feathery tutus dancing around, a graceful take on the famous Snowflakes dance. Clara finds herself absorbed and follows the characters to Sweetieland. Here, the audience is met with a variety of colourful costumes, all inspired by popular sweets like Knickerbocker Glory and Gobstoppers. In Clara’s imagination, her friends from the orphanage become these characters. Here, a more modern version of the national dances takes place, where each of the sweets perform their own breath-taking piece. The show is brought to an end when the Prince and Princess hold a marvellous wedding, to which all the sweets are invited. The set is flecked with bright colours ranging from pink to orange to green, bringing the audience on a sugary journey.

Matthew Bourne’s reimagination of the Nutcracker brings an exciting twist to the story, with a different interpretation of what is usually portrayed on stage. The show has experienced many changes since it was last seen nearly ten years ago. The one thing that has not been re-thought is Tchaikovsky’s much-loved score as Matthew Bourne says, ‘Thirty years on I find Tchaikovsky’s music more and more profound; its magic turns us all into kids again’.

Nutcracker! runs at Sadler’s Wells until 30^th January. Not long to go- tickets can be found here Matthew Bourne’s Nutcracker! – New Adventures – Sadler’s Wells Theatre (sadlerswells.com)

Reviewed by Aishani Chatterjee- Aishani is a Year 10 student at Latymer School and is learning Classical Ballet and Indian Classical dance Kathak. Her love for dance and her interest in media studies and performing arts draws her into watching performances, learning from a varied range of presentations and writing about them.

In the middle of Hyde Park, surrounded by nature you will find a building in which futurist exhibitions take place: the Serpentine Gallery. They have created a new way of enjoying museums by revolutionising the form of the exhibitions. I went there to discover KAWS’ artwork, an artist well known for his pop art. His work is characterized by the use of colours, his specific figurative characters and the repeated use of “X””s on hands, nose and ears. In his New Fiction exhibition at the Serpentine Gallery, I discovered his impressive work as well as played around with it! Once I put a foot inside this gallery a world of game, fiction and augmented reality was revealed to me.

This exhibition has many layers, enabling every type of audience to enjoy the visit. The first one, more conventional, is the physical exhibition. I have been able to walk around the impressive sculptures of his well-known characters: blue BFF and grey Companion. Some of his paintings are also displayed, they are full of bright colours and lines. I enjoyed trying to find his characters hidden in each of his paintings. Have a closer look, you will be able to see them! His artwork takes a multitude of forms: varnished, circular, a comic strip and a three-panel painting. The second layer of the exhibition is its partnership with Fortnite. On the 18th of January at 3 o’clock, every player entering the video game was going through the exhibition and could see the Serpentine Gallery in the middle of what seemed to be a park in Fortnite. KAWS artwork has crossed the border of the fictional world. It can now be admired in every country by every player. The third layer is the application that you can download on the gallery’s wifi which enables you to see KAWS’ artwork in every place you desire. You can choose which character you want to see, you can change his position and picture it digitally in your chosen backdrop! His artwork is now yours, you can enjoy seeing his paintings on your wall and his characters in your kitchen. From now on, the exhibition is not confined to the gallery but is accessible everywhere. I now have a KAWS’ artwork in my bedroom!

This futurist exhibition is an amazing opportunity to discover KAWS’ work and to discover a new form of enjoying art. It will run until 27th February 2022 at the Serpentine North Gallery, London. Learn more about it and get your free tickets at https://acuteart.com/artist/kaws-new-fiction/.

Reviewed by Alix Berthelot–Moritz- Alix is a volunteer writer for Abundant Art. Originally from Normandy, France, she follows her passion for journalism and art by studying at the European Political and Social Sciences of UCL, London. As an international student living in London, she is determined to fully experience and discover the entirety of the city’s vibrant arts scene and share the beauty of it through her writing.

Maggie Gyllenhaal’s directorial debut ‘ ‘The Lost Daughter” creates a reflective, mournful and melancholic atmosphere against the backdrop of a picturesque Greek beach as actress Olivia Coleman gives us an unforgettable performance. Based on a novel of the same name, The Lost Daughter seeks to portray the sides of motherhood that are atypical and unconventional, the sides that are hidden and buried. Olivia Coleman plays Leda, a comparative English professor on holiday in Greece. As she is perched in her seat baking in the sun she crosses paths with a family also on holiday.  Amongst this family is Nina, played by Dakota Johnson, a young woman with a little daughter. Leda becomes infatuated with Nina and her daughter as she is reminded of the struggles of her early motherhood.

‘Children are a crushing responsibility’ is a very memorable line in the film. Leda mutters this to Nina whilst she grows frustrated at her daughter’s relentless cries, passing her to her sister in order to acquire a second of peace. It is often assumed that nurture is nature for women, motherhood is supposed to and will feel natural and that the birth of a child will arrive simultaneously with unconditional feelings of fondness, and love and care for these beings. The series of flashbacks to a young Leda, triggered by her interactions across the island, reveal the struggles of motherhood where nurture doesn’t feel natural and the seething exasperation, intense struggles and grievances of having young children seem to burn slightly stronger than the emotions of unconditional patience or nurture. These flashbacks begin when Leda joins a search to find Nina’s daughter as she disappears from the beach, eventually finding her, initiating the start of Nina and Leda’s friendship. The first flashback replicates a similar event, as we see a young Leda played by Jessie Buckley running across a beach, intense distress portrayed by a shaky handheld camera shot, as her daughter, Bianca has disappeared from within her sights. Once she finds her, Leda shows her relief with anger and annoyance at Bianca for running off. Many of these flashbacks present Leda as short-tempered, growing exceedingly unable to cope with the neediness and rambunctiousness of her young children whilst also having time to be her own person.

The triggers of Leda’s past are manifested in actions that are very haphazard and impulsive. She steals Nina’s daughter’s toy doll, and when asked if she has seen the doll, acts aloof despite hearing the amount of distress losing the doll has put the small girl in. In the confines of her villa bathroom, she caresses, hugs and strokes it as if it is a real-life baby. As a young mother, a young Leda is often presented as quite selfish, tending to put her needs before those of her children unlike what is typically expected of mothers. At the climax of being unable to cope, she makes the decision to leave her children, not returning for 3 years. When asked about what she remembers about her early motherhood, Leda repeatedly insists she does not remember, there is panic within her voice. Whilst describing leaving her children as one of the best periods of her life, there is also lingering guilt and regret that renders it difficult for her to be able to talk about this time, especially to another mother.

In the moments where we see Leda abandoning the needs of her kids, ignoring them as they cry for affection or snapping at them for being too boisterous and loud, we are conditioned to both resent her and feel empathy for her. It is clear that she was a young woman who felt suffocated by her surroundings, work, children and husband who was always out working and whilst this does not excuse the ways she treated her children, at some points we are not supposed to regard her as a bad person. The decision to leave her children and take time for herself was a result of her “exploding” she says. She does not present this decision as something she has done because she hates her kids, rather a necessary step in healing and taking time for herself.

The Lost Daughter is available to watch now on Netflix.

Reviewed by Lian Lakhope. Lian is a MA Global Media and Communications student at SOAS and a volunteer writer for Abundant Art. Lian has written for a number of different publications, mostly about music, culture and film and she is enthusiastic about expressing her passion for creating art and media.

Tate Modern presents the chance to experience two of Yayoi Kusama’s infamous ‘Infinity Mirror Rooms’. Yayoi Kusama, a Japanese artist and writer, has created a series of beautiful, immersive installations allowing you to become one with the art.

We first entered the infinity room called “Chandelier of Grief”. Surrounded by mirrors, the grand chandelier reflects on each surface symmetrically – it is truly dazzling. However, there is a dark aura in this room, reminding us that we experience both beauty and sadness simultaneously. Kusama has faced mental health problems throughout her life, experiencing visual hallucinations, which have influenced her style of work. The mirrors allow you to visualise and lose yourself within the art, making it unique.

In between the two infinity rooms, there are displays of Kusama’s work from across her career. A collection of photographs and moving images provide the context and timeline building up to the creation of the mirror rooms. Kusama lived in New York for many years, which is where she first started making mirror environments in the 1960s. The photographs allow us to further understand the artist, as she is pictured in various stages of her life. Her style is one that is eccentric and eye-catching, just like her installations.

The second infinity mirror room, ‘Filled with the Brilliance of Life”, is one that is completely mesmerising. It feels as if you are gazing up at a star-filled sky. In this room, you move along a walkway over a shallow pool, surrounded by the glittering, colour-changing lights which hang from above you. In Kusama’s visual hallucinations, she becomes ‘obliterated’ by repeated dots – which she attempts to recreate in this room. The lights pulse and change colour, before completely turning off, leaving you in total darkness. We become sensitive to time whilst experiencing Kusama’s infinite space. The longer you remain in this room, the more entranced you become; I felt as if I could stay there forever. Kusama once again captures an intense duality of emotion: we find ourselves marvelling in awe at this display that has been created through her suffering.

This exhibition was extremely captivating, it allows you to revel in the art. Fully sold out until March, it is definitely worth trying to get your hands on tickets for later this year!

Yayoi Kusama
Infinity Mirrored Room – Filled with the Brilliance of Life 2011/2017
Tate
Presented by the artist, Ota Fine Arts and Victoria Miro 2015, accessioned 2019
© YAYOI KUSAMA

Get your tickets at: https://www.tate.org.uk/whats-on/tate-modern/exhibition/yayoi-kusama-infinity-mirror-rooms

Reviewed by Ridha Sheikh – Ridha is a volunteer writer for Abundant Art. She is a recent History and Politics graduate from Queen Mary – University of London. Ridha is excited to explore and share her strong passion for London’s art scene.