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/Jung von Matt
|Haukur Tómasson first immersed himself in the work of Yayoi Kusama before starting work on his composition, taking into account the sort of image that she would later add to it. Kusama's art undeniably touched a Romantic string in him. His cello solo is lyrical and fragile at the same time. In terms of atmosphere, Kusama's contribution fits this perfectly. Kaleidoscopic images emerge to the rhythm of the music: abstract patterns with a highly hallucinatory effect, reminiscent at the end of a perfect setting for a disco scene from Saturday Night Fever. Kusama herself also makes an appearance now and then. She sits, dressed in a long robe, in an interior overlaid with her well-known dot patterns. Sometimes the camera zooms in onto details - a breakfast table, the contours of a kitchen - then a shot again of the entire interior.
Tómasson calls his composition 'a soft and clear monologue', and has deliberately chosen for a single instrument. Partly through the sounds of the cello, the presence of Kusama in her own film acquires a certain vulnerability. On the one hand she seems to be excluded from her own creations, on the other hand she looks like a wizard setting everything in motion.
Oliver Voss has made Kusama into a product for his advertisement film. By means of an ingenious montage of existing adverts - from Robijn detergent to Calgon scale remover - he attempts to promote Kusama as an exotic phenomenon. With slogans such as 'Yayoi is not only for Germans, she is for you too' or 'Don't miss the Yayoi experience', he increases the mystery surrounding her life and work. At the same time it is an ode to the oeuvre of an artist who is still at the peak of her abilities.