Edward Hopper

A silvery sea of reflecting spheres, vast expanses of white phalluses, a proliferation of polka dots that overflow the canvases to invade the entire room. In the middle, swallowed up by her own art, a minute Japanese woman with pitch black hair. Yayoi Kusama was born in Matsumoto into a traditionalist family in 1929. As soon as she was able, little Yayoi took refuge on the plantations of her maternal grandfather, where she abandoned herself amid clouds of hollyhocks to the outlandish visions that were then captured on canvas. Painting was the only relief for the existential angst that struck her at a very early age, and she decided to embrace it all the way, even if it meant putting an entire ocean between herself and those seeking to prevent her. At the age of 28 she arrived in New York, hell on earth, and art was once again her salvation. She overcame poverty and repeated nervous breakdowns, exorcising her phobias with the celebrated Infinity Nets and soft sculptures. It was a short step from “psychosomatic” art to wild, orgiastic performances. In the late 1960s she rode the hippy wave and the Kusama Happenings became the key events of the pacifist revolution. The priestess of polka dots asked a policeman whether he preferred war or free love. Her disciples addressed her as “sister” like a nun because, contrary to what her outraged compatriots believed, she directed the dances but did not participate. In actual fact, she found sex literally horrifying, far more so than death, which her friend Joseph Cornell described as no more than going into the next room. Related in the first person with disconcerting sincerity and a wealth of authentically comic anecdotes, these pages trace the trajectory of one of the most eccentric, ambivalent and charming personalities that Japanese art has ever known.

The exhibition of “Programmed Art” was inaugurated in the Olivetti Store in the Galleria Vittorio Emanuele, Milan, on 15 May 1962. The name Arte Programmata was coined by Bruno Munari, who launched the initiative, and Umberto Eco, the theorist of kinetic art as a paradigm of the “open work”, was responsible for the catalogue. The young and very young artists included the Milanese Gruppo T (Anceschi, Boriani, Colombo, Devecchi and Varisco) and Gruppo Enne from Padua (Biasi, Costa, Chiggio, Landi and Massironi) together with Enzo Mari and Munari. Others were to join during the show’s two-year tour. Packed in crates painted orange with the name Olivetti clearly evident, the works are a small but important symbol of the Italy of the economic boom and the fruitful wedding of avant-garde art and industrial research. The show was in fact produced and sponsored by Olivetti, the first company ever to act in such a capacity, in the period of its venture into electronics and production of the Elea 9003, the world’s first transistorized mainframe computer. Fifty years on, this book not only reconstructs the show through the works and the documentation of its genesis (including the anastatic reproduction of the original catalogue) but also takes a broader look at the electronic adventures of Olivetti, a company that sought to address the social and cultural implications of the dawning digital era.

Belgrade, 1974: Marina Abramović set fire to a monumental five-pointed star, the symbol of the Tito regime, and laid down inside it until she was overcome by the fumes and fell unconscious. Naples, one year later: the artist challenged the public to use any of the objects laid out on a table on her resolutely passive body and one spectator pointed a loaded gun at her throat. New York, 2002: she lived and fasted for twelve days in a suspended structure set up in the Sean Kelly Gallery, drawing sustenance only from the fascinated gaze of spectators who watched her drink, sleep, wash and urinate. James Westcott was one of them and this was his first encounter with the self-proclaimed “grandmother of the Performance Art”. It is also the opening scene of Quano Marina Abramović morirà, an intimate biography of an artist who has been flirting with death for forty years by using her body as the focal point of legendary performances. Launching herself into performance art initially meant rebelling against a “militarized” upbringing under the tyrannical control of a mother who imposed Communist cultural dictates and never kissed her. The complete break with Belgrade and take-off of her career began after she met the German artist Ulay. Together they toured Europe in a Citroën van transformed into a mobile home and staged performances laying bare an extreme symbiosis that culminated in Nightsea Crossing, repeated ninety times in five years, which involved them sitting immobile and gazing into one another’s eyes for seven consecutive hours across a table. In their last performance as a duo, they set off walking from either end of the Great Wall of China to meet in the middle three months later and say goodbye. Again a solo artist and soon to receive the Golden Lion at the 1997 Venice Biennial, Abramović finally arrived in the limelight of New York, from where still dominates the international art scene. She has often been asked whether she has ever been afraid of dying during her daring actions. She answers, “What if I do? Life is a dream and the death an awakening. We should rather think about how precious our existence is and the senseless way we waste it.”

Bacon’s reaction on being asked by Daniel Farson whether he was happy to have won a place on the Olympus of art was one of sincere indifference. He cared nothing for the tinsel of fame, still less for posterity, and often remarked that we are nothing at all once we are dead. He did not believe in God, morality or love but described himself nevertheless as an optimist. An optimist of nothingness living on the feelings of the moment. Life is so senseless that you may as well make something extraordinary of it. This Nietzschean paradox also guides an approach to painting marked by the ability to take advantage of the creative accident, as when he threw paint at random onto the canvas to see what would come out of it. Like a tightrope walker poised between abstraction and figuration, Bacon combined intentional fortuity with the calculation of a gambler. He went against the tide of artistic fashion, which embraced abstract art in that period. He sought to paint the tragic beauty of life, and if he distorted the human figure it was only in order to extract a greater and more violent truth. A similar intent seems to animate this book, vivid personal recollection rather than official biography, which unearths material collected firsthand during a friendship that began in a club in Soho in 1951 and lasted over forty years. Farson’s is a stark, unvarnished portrait of an artist of extremes, capable of great love and fierce hatred, immense magnanimity and pitiless slander. Between a bottle of champagne and a caustic comment, we follow his madcap forays between the gutter and the Ritz, which always ended up in Soho, the bohemian quarter of London, the second home – if not the first – of writers and artists who drowned their talent in alcohol. Bacon’s descent into the homosexual underworld was paralleled by his irresistible artistic ascent. The works marked by the explosion of a raging sexuality were to go down in history as masterpieces, but whenever he was asked what he did, he would say that he was just an old queer.