The NGV Is Keeping Its Spectacular Yayoi Kusama Exhibition Open Late for Its Last Weeks, Including Till Midnight Over Easter
If you haven't yet made a date with Australia's largest-ever retrospective dedicated to the Japanese artist at Melbourne's NGV International, you now have more chances to do so.
Peering at Yayoi Kusama's work doesn't just mean being surrounded by dots, pumpkins and tentacles; stepping inside her infinity rooms; and spying mirrors, balls, flowers and rainbow hues aplenty. It also means relishing every moment with her immersive art. One trip to a Kusama showcase, whether at her own Tokyo museum or elsewhere, is never enough. However long an exhibition's season runs for, it's not long enough, either. Melbourne's NGV International, the host of Australia's largest-ever Kusama retrospective, understands this — and it is giving art lovers more chances to enjoy the artist's wonders.
Yayoi Kusama, as the curent exhibition is called, opened on Sunday, December 15, 2024 and runs until Monday, April 21, 2025. That end date isn't being delayed, sadly, but the gallery is extending its hours instead across the showcase's final weeks. Revealed on Friday, March 21, the news was unveiled a day before a significant occasion: Kusama's 96th birthday on Saturday, March 22. Of course, this'd be exciting no matter when it was announced.
From Saturday, April 5–Wednesday, April 16, the exhibition will operate from 8am–6pm. Melburnians, if you fancy exploring Kusama's work before or after the nine-to-five grind, this is your chance. Over the Easter long weekend, you'll have even longer to head by, which is also great for visitors from elsewhere making the trip to Melbourne for the break. From Thursday, April 17–Monday, April 21, the exhibition will be open from 8am–midnight daily.
The National Gallery of Victoria's spectacular tribute to Kusama includes the Japanese icon's brand-new Infinity Mirrored Room–My Heart is Filled to the Brim with Sparkling Light among its ten immersive installations, breaking the world record for the number of such pieces by the artist assembled in one spot. In total, there's 200 pieces on display, taking over the St Kilda Road gallery's entire ground floor with a childhood-to-now survey of its subject's creative output.
Across the eight decades of art on display, some pieces have never been seen Down Under until now. Some are sourced from private collections, and others from Kusama's own personal stash. Here's yet one more drawcard: the NGV is throwing Friday-night parties as part of the exhibition, too, running until Friday, April 18.
Kusama's five-metre-tall dot-covered Dancing Pumpkin sculpture in NGV International's Federation Court, the artist's Ascension of Polka Dots on the Trees wrapping the trunks of 6-plus trees in pink-and-white polka-dotted material: they're also key elements of one of the most-comprehensive retrospectives devoted to the artist to be staged globally. Other highlights include NGV International's glass waterwall going pink, but with black rather than white dots; Kusama's new version of Narcissus Garden, which dates back to 1966 and features 1400 30-centimetre-diameter silver balls this time around, sitting in front of the waterwall and in parts of Federation Court; and the yellow-and-black spheres of Dots Obsession hanging over the Great Hall.
Then there's the artist's sticker-fuelled, all-ages-friendly The Obliteration Room, where audiences young and old pop coloured dots everywhere — 'obliterating', as Kusama calls it — to cover an apartment interior that's completely white otherwise. Flower Obsession is another participatory piece, returning from the 2017 NGV Triennial. Again, you're asked to add to the work. Here, red flowers are applied to a domestic space — and again, obliterating it is the mission.
If you adore the artist's way with mirrors, you'll want to see 2016's Chandelier of Grief, which features baroque-style chandelier spinning within a hexagon of mirrors; 2013's Love Is Calling, where tentacles in different colours spring from both the floor and the ceiling; and 2017's The Spirits of the Pumpkins Descended into the Heavens, which gets viewers peering at glowing pumpkins as far as the eye can see through a small peephole. In Invisible Life, convex mirrors line a twisting and multi-hued corridor.
With its six-metre-tall tendrils — which are covered in polka dots, naturally — the yellow-and-black The Hope of the Polka Dots Buried in Infinity Will Eternally Cover the Universe from 2019 is striking without using a looking glass (or several), and has made its Australian premiere. Prefer flowers instead? Set within a dotted space, All My Love for the Tulips, I Pray Forever from 2013 sees a trio of giant tulips loom over audiences.
Overall, Yayoi Kusama steps through the artist's 80-plus years of making art via a thematic chronology. While a number of pieces hail from her childhood, others are far more recent. Her output in her hometown of Matsumoto from the late 30s–50s; the results of relocating to America in 1957; archival materials covering her performances and activities in her studios, especially with a political charge, in the 60s and 70s; plenty from the past four decades: they all appear.
Yayoi Kusama displays at NGV International, St Kilda Road, Melbourne until Monday, April 21, 2025 — including from 8am–6pm between Saturday, April 5–Wednesday, April 16, and from 8am–midnight between Thursday, April 17–Monday, April 21. NGV Friday Nights: Yayoi Kusama runs each Friday until Friday, April 18, 2025. Head to the NGV website for more details and tickets.
Images: Visitors and artworks in the Yayoi Kusama exhibition at NGV International, Melbourne until 21 April 2025. © YAYOI KUSAMA. Photos: Danielle Castano, Sean Fennessy, Tobias Titz and Kate Shannassy.
