Yayoi Kusama – Why Her Art is More Relevant Now Than Ever Before
Hello and welcome to Japan Media Tour, I’m your host Stephen T.M., and today we’re going to be talking about the eccentric Japanese artist Yayoi Kusama -Kusama was born in 1929 in Matsumoto, Nagano, Japan -I was actually in Matsumoto recently, home not only to Kusama, but also to Matsumoto Castle,
One of the 12 original castles still standing in Japan today -It’s a nice city – I definitely recommend it if you haven’t been there -It’s also worth visiting the Matsumoto Museum of Art, which is home to many of Kusama’s works, including a large flower sculpture that guards the museum’s entrance
Like something out of Super Mario Brothers -Anyway, Yayoi Kusama is a groundbreaking artist who’s been a trendsetter for decades -Our continued search for a comprehensive understanding of Japanese art and culture has to go through her in order to arrive at the present day -Kusama was born into a wealthy family,
And they wanted her to follow the usual path of marrying a rich man and being an obedient housewife, never causing any trouble -Her parents didn’t want her to work, and they especially didn’t want her to do something as unconventional as becoming an artist
-Her parents actually planned an arranged marriage for her, which never ended up materializing -Now, her family may have had money, but the year young Yayoi was born also happened to be the year the stock markets crashed, causing significant social unrest in Japan and worldwide
-As you can imagine, early Showa Era Japan was a tumultuous time to grow up, and Kusama was still a child when World War 2 broke out -Even so, all able hands were needed for the war effort, and Yayoi sewed military parachutes from the time she was 12 years old
-She said that a lot of her childhood was spent indoors in the darkness of the factory, with the sound of air raid sirens going off all hours of the night and day -As if that wasn’t traumatic enough, the young Kusama also had a mother who forbade her from
Making art, the one thing that provided some respite from the dark reality of the world around her, and the mental illness she suffered from in the form of hallucinations and anxiety -And Kusama still lives with these afflictions to this day
-She reports episodes of severe dissociation in which she feels like her body is fading into the world around her – like she is becoming one with her environment -She has visual hallucinations of flashing lights and dots, which you can see reflected
In much of her art – polka dots being a recurring theme throughout her career -The first such incident occurred when she was just 10 years old, and a young Kusama found that art was her only escape -Maybe escape is the wrong word actually – it’s
More like art allowed her to channel her condition into something she enjoyed – she wasn’t escaping from the hallucinations, she was leaning into them and eventually allowing others to see the world within her mind -It was very therapeutic for her, and continues to be to this day -Her mother added to her trauma
By forcing Yayoi to spy on her father, leading to the young girl catching her dad having sex with his mistress on multiple occasions -After this she became both obsessed and fearful of sex for some time – leading to another major theme in her work
-These types of dissonances or dichotomies often come up in the origin stories of great artists -Confused feelings about a certain topic that they need to work out by creating something -Kind of like the dichotomies we discussed in our episode on Comme des Garcons,
Or Gyaruson as it’s often called in Japan -We’ll discuss Comme des Garcons a bit more later on in this episode, as there is a connection to Kusama, but let’s continue with the early life of Kusama for now -Yayoi Kusama studied traditional Japanese
Painting at the Kyoto City University of Arts -This type of painting is called Nihonga, and the term Nihonga became popular in the Meiji era as a response to the influx of Western style painting, also known as Yōga, that became popular after Japan’s borders were opened up
-Before that, it wasn’t really necessary to use the term as almost all of the art Japanese people were exposed to was done in a Japanese style -Those terms are pretty literal, by the way -Nihonga means Japanese art, and Yōga means Western art
-You’ll see this yō in lots of words referring to Western things, such as yōshoku, which refers to Western-style cuisine -It’s interesting that Kusama started by studying such a strictly Japanese style of painting, as she would later fall in love
With European and American art – and would end up being embraced in the West before she was accepted in her home country -Her interests were straying from those around her in a society that was becoming increasingly nationalist,
Something that had been building for decades -And so she had to escape from her family and from a strict, patriarchal Showa Era Japanese society -In the same way that she wanted to escape from the confines of her family and society, she also felt she had to
Break free from the traditions of Japanese art -Kusama said of Japan that it was “too small, too servile, too feudalistic, and too scornful of women” -Hence she left for the US of A in 1957 -She went to Seattle first, and stayed
Briefly before relocating to New York City -Kind of like Ichiro Suzuki, although he stayed in Seattle for like 11 years -The story of Kusama’s introduction to the American art scene is pretty cool actually -She was a huge fan of the American painter
Georgia O’Keeffe, who was famous for painting flowers and other yonic symbols, in contrast to Kusama’s work which consisted of more phallic imagery -Kusama sent some letters and drawings to O’Keeffe, and O’Keefe not only answered, but also introduced Kusama to some major players in the art world
-At one point when Kusama was struggling to make money, O’Keefe actually convinced her art dealer Edith Herbert to purchase some of Kusama’s work to help her out -By the way, in 1956 Kusama burned over 2,000 of her artworks in a fire before leaving Japan
-She wanted to make a fresh start in the US -Though she left with little money, she quickly made a name for herself in New York City -Her first New York show was Infinity Nets in 1959 -Infinity Net is also the name of her autobiography
-The show consisted of giant paintings on canvas of thousands of tiny little semicircles making up the ‘mesh’ of the nets -This first show was immediately successful, and people began to compare her to other great artists of that era -One of the biggest American artists of that time was Jackson Pollack
-Pollack was dribbling paint on huge canvases and making long wild strokes -His work was erratic, whereas Kusama’s was quiet and obsessive, meticulous and controlled -Hers was serene and meditative, like the Japanese countryside – so even though she may have rejected some aspects of Japan at that time, she also brought some with her
-Pollack’s work was more masculine, and more representative of Big City life -Kusama’s Infinity Nets were created with calm and controlled brush strokes, repeated over and over until the hand movements became automatic and she became entranced, part of the painting – removed from her body just as she was during her hallucinations
-Painting the same thing over and over in an obsessive, repetitive manner can sort of put the artist under a spell, and this too can put viewers under that same spell if they’re willing to give themselves to the art -To be captured in Kusama’s Infinity Net
-Both Pollack and Kusama created huge works, as did a lot of other artists at that time, such as Mark Rothko -Rothko’s style by the way often also had that sense of calm we see in Kusama’s work – though it can get pretty dark and depressing at times
-I won’t comment further on Rothko, other than to say that the emotionality and orientation of his paintings feel like mirrors that we can look at in order to better understand ourselves -On the other hand, the large scale of Kusama’s work adds to the theme of the
Insignificance of us as human beings – fading into the piece and out of reality -Being caught in this large net – helpless, carried away by an unseen force -The Infinity Nets are really quite minimalist, and Kusama is seen as a sort of pioneer of the
Mid century minimalism movement -Minimalism is of course still huge in Japan to this day -Even when you think of brands like Muji and Uniqlo with their simple designs -Kusama’s works in this era are actually some of my favourites, and are quite understated compared to what she would create later on
-Over time she took bigger and bigger risks – exploring her own creativity and trying to make a name for herself. -See, Kusama was one of those artists who really wanted to be famous -She even said on several
Occasions that she wanted to be a star -I feel like a lot of artists say this kind of stuff now, but it was somewhat less common back then – not sure if this is a good thing or not – just an observation -Kusama tried to build a sort of persona,
A sort of exaggeration of herself, similar to what someone like Salvador Dali had done -I think creating this sort of extreme version of oneself can serve as a defence mechanism -You take control over your own narrative so that no one else has the power to define you
-She may have felt that she had to do this as an outsider – a Japanese woman in a New York art scene dominated by white men -And so her unique personality became part of her brand -She was somewhat of a shameless self-promoter,
But she had to be in order to stand out and to have her voice heard – in fact, there are a lot of great artists out there that never get noticed because they don’t put themselves out there
Enough, and so people never discover their work -A lot of people in the 50s and 60s wanted to silence the voices of women in the art world, but she just kept speaking up louder and louder -And this was also expressed through an exploration of bolder, more striking art
-She switched back and forth between painting, sculpture, installations, and even performance art -She would often go to landmarks around New York, such as the Brooklyn Bridge, and paint the nude bodies of friends and models -She organized and attended anti-war protests during the Vietnam war -She apparently even
Offered to sleep with President Richard Nixon if he would put an end to the war -It’s no surprise that Kusama’s performance art brought shame upon her and her family in Japan -If these types of antics brought on negative press in America during the hippie movement,
You can imagine how people thought of Kusama in conservative Japanese society at that time -Apparently her high school even removed her name from their list of alumni -Now, as far as I know this has not been verified, but the rumour is out there, and whether it’s
True or not, it does a good job of illustrating how people thought of her in Japan at the time -I love Kusama’s Infinity Nets, but my favourite works of hers are probably the soft sculptures she was making throughout the 1960s, starting around 1962
-These were made of canvas, stuffed with cotton, sewn into phallic shapes -She incorporated these soft sculptures into a variety of different pieces, and often organized them like some kind of bizarre coral reef -They were really shocking at the time, especially since a woman was the one making them -In fact, they’re still quite
Uncomfortable to look at -You can almost feel their texture just by looking at them – especially when she put them on objects like chairs or clothes or even a rowboat -This is when Kusama first got famous for her installation work, which is still a
Huge part of her repertoire to this day -These soft sculptures had a huge influence on Rei Kawakubo of Comme des Garcons when she created the Body Meets Dress, Dress Meets Body collection in 1997 -As I mentioned in our episode on Comme
Des Garcons, Body Meets Dress, Dress Meets Body was one of the most famous runway collections of the 20th century, and at the time of its release one of the most mocked and despised -However, it’s now considered to be a classic, ahead of its time – but I suppose not as much
Ahead of its time as it would seem, seeing as Yayoi Kusama made something similar over 30 years before the Comme des Garcons collection -The goose-down pads on Rei Kawakubo’s clothing make the models look deformed, and make it seem as though the body of the model
Is merging with the dress itself -Sound familiar? It’s a lot like Kusama’s idea that she and her art were becoming one – merging into one another -Both Kusama’s sculptures, and Kawakubo’s 1997 collection can also be seen as a comment on illness and deformity, disease, and the imperfection of the human organism
-They’re uncomfortable to look at, yet they’re fascinating at the same time -There are lots of connections between Yayoi Kusama and Rei Kawakubo -Polka dots are common threads between both Comme des Garcons and the work of Kusama -Also, Kusama often wears a red wig, and in Comme des Garcon’s Autumn Winter 2012 collection
One of the looks features a model with a red wig wearing a polka dot dress – Very Kusama-inspired -And it’s not like Rei Kawakubo has kept her love of Kusama a secret or something – the designer has acknowledged her adoration of the artist, and the two even held a joint exhibition in 2009
-Neither Rei Kawakubo nor Yayoi Kusama shy away from capitalism either – they’re not afraid to be labelled as sell-outs or anything like that -Which might be kind of surprising due to the fact that they’ve had such an impact on underground antifashion movements and things like that
-It’s clear Kusama has had a meaningful impact on antifashion with designers like Margiela exhibiting themes similar to those explored by Kusama -Paint splatters and things like that -However, Kusama has also collaborated with Louis Vuitton on a series of polka-dotted bags and clothing -Not so much antifashion as it was pure unadulterated consumerism
-Probably not the most revolutionary work she’s been involved with, but it certainly sold well -By the way, Kusama actually started a clothing line of her own in 1968 – Kusama Fashion Company Limited -It featured lots of sexual themes with holes cut out in strategic locations
-I’ll leave that to your imagination though -Back to the soft sculptures for a minute now -They didn’t just inspire fashion, but also other artists -Right after she exhibited her soft sculptures, the Swedish-born, New York-based artist Claes Oldenburg came out with some suspiciously similar works
-And the really sad thing is, he actually garnered far more international acclaim for his than she had – now, I’m not sure if he ripped her off, but the timing was awfully convenient -This wasn’t the only example of male artists allegedly stealing her ideas either
-She publicly called out Andy Warhol for plagiarising her work -Kusama made wallpaper with pictures of her soft sculpture rowboat piece repeated on it many times in 1962, and Warhol started using this same printing technique about 4 years later -The two of them had actually been good friends, so this really hurt Kusama
-She became paranoid, covering all her windows and making artworks in secret so that nobody could steal her ideas -She painted obsessively, sometimes staying up all night painting the same shapes over and over again -This probably led her into more severe hallucinations due to the lack of sleep and obsessive-compulsive activities
-Painting processes like this start with a focused mind and a controlled hand, until the thoughts slowly drift away and the brush strokes become automatic – a loss of control on the part of the artist – I’ve actually experimented with this technique a lot in my own
Art and it really is amazing how your mind just goes blank – it’s a very zen experience -And it may sound strange, and it’s certainly unhealthy, but a lack of sleep probably helps to get into this dreamlike state -By the way, just think of how famous
Warhol got from his prints – did Kusama start all that? It seems likely, but we can never be sure what a person might have planned -OK let’s give one more example of artists biting Kusama’s style -In 1965 – She made her first Infinity Room, Phalli’s field -It consisted of hundreds of
Soft sculptures in a room of mirrors -7 months after Kusama’s Infinity Room, artist Lucas Samaras created something suspiciously similar, with his garnering significant positive reviews, while hers failed to spark half as much conversation -She fell into a depression, this time going as far as to attempt suicide,
As she would multiple times in her life -Most people these days would probably say that Kusama’s mirrored room was far more interesting than Samaras though, just as her work was more interesting than both Oldenburg’s and Warhol’s at that time
-Let me know what you think about that though – all of them were influential artists -More on Kusama’s infinity rooms though -She encourages visitors to enter the rooms and experience the art first hand -When you enter one of her infinity rooms
You can feel yourself being obliterated, as she would say, that is, losing your sense of self and becoming part of the art, just as Kusama is when she creates her works -She often talks about this idea of “obliteration”, that her art overwhelms and consumes her -It becomes bigger and more impactful than
Her human form and she fades into it -This is perhaps where passion meets obsession on the blurred line that separates madness from sanity – I wonder if we’ve all been there at one time or another – maybe some lean into it while others try to escape
-It’s like a more profound recognition of being “in the zone” -So in Kusama’s infinity rooms you look around and see many iterations of your human form reflected all around you – you’ve become like one of the dots in Kusama’s works – insignificant, swimming
In a sea of likeness, surrounded on all sides -Everything is very orderly – how does one stand out against a backdrop when everything else in the scene looks just like you? -How can we stand out in a strict society in which everyone is wearing the same clothing,
Taking the same trains, and clocking in and out of the same boring jobs every day? -Speaking of standing out, let’s look at the way Kusama has styled herself over the years -She often wore kimonos around the streets of New York City, which certainly made her stand out
-It was also kind of provocative in post-war USA -Think about the fact that she was a Japanese person in America 10-15 years after the end of WW2 when the two nations had done battle in the Pacific Theatre -You can be sure that not many others
Were wearing traditional Japanese garments in the streets of New York at that time -Looking and acting in what was seen as an exotic manner probably worked as a sort of marketing tool for her – she was ‘out there’, and that’s what art enthusiasts were hungry for at the time
-Another way Kusama styles herself is by becoming one with her art -There are photos of her standing in front of her pieces wearing clothing adorned with motifs that match her pieces, and you almost lose sight of where the art ends and she begins
-As you can imagine this often involves a lot of polka dots -So in the 60s Kusama had a loyal following, but she wasn’t universally accepted the way she is today -In 1966 she showed up uninvited to the Venice Biennale with an installation
Called the Narcissus Garden, in which she wore a golden kimono and stood beside a sign that read, “Your Narcissism For Sale”, while she sold silver orbs to people for 2 dollars apiece -She was eventually kicked out, and it wasn’t until 1993 that she was invited back
-In 1993 she presented an orange room with black polka dots and mirrors, among other pieces, and she wore an orange and black witch’s outfit to match her installation -Narcissism is another recurring theme in her work -From Narcissus Garden in 1966 to her recent infinity mirrors which serve as selfie magnets today
-There are lots of different ways to view these works: are they accusatory? Or are they self-reflective? -I think we can all come to terms with the fact that we live in a world plagued by narcissism, and it’s good to be reminded of that fact
-Her more recent Infinity Mirrors exhibitions encourage visitors to take photos and videos and to share them on social media, making Kusama’s work extend into the digital world -Her work really does stretch out to infinity – taking over her thoughts and dreams,
Then our reality, and then once again leaving the physical plane and entering a world of 1s and 0s -Perhaps the ultimate example of Kusama’s obliteration -Though the mirror is often used as a symbol of vanity and narcissism, Kusama didn’t
Always use them to comment on those concepts -In fact, in the early 2000s she used mirrors to convey the complete opposite through dimly lit infinity rooms -These are also peak self-obliteration -When you step into one of these rooms, you step out of your body, and become part of your environment
-You feel the presence of what’s around you more than you can actually see it clearly -By the way, sorry for jumping around the timeline so much, but Kusama revisits so many of the same themes, and I’d rather follow the themes than the calendar
-That being said, let me just throw out a couple more interesting points from Kusama’s American era -In 1968 she officiated what she called the world’s first homosexual wedding -She has also collaborated with the likes of Fleetwood Mac, and made music videos such as Lovetown by Peter Gabriel -All the telltale signs of Kusama
Can be found in the video – polka dots, soft sculptures, and even infinity rooms -In 1973, Kusama decided to move back to Japan -She was famous in the Western world at this point, but not all that well-known in her home country
-The only times she was really talked about in Japan were when she was bringing shame on the nation with her over-the-top performance art -The 70s were a low point for Kusama in terms of her success in the art world, and perhaps in terms of her mental health as well
-In 1977 she checked herself into the Seiwa Hospital for the Mentally Ill in Tokyo, and she actually still lives there to this day, heavily medicated, but still working -She goes back and forth between the hospital and her studio, which is closeby
-Since moving back to Japan, she’s created more colourful artworks – very bright, saturated acrylic paint on canvas -She had a revival in the late 80s, which has continued up to the present day -In 1989 the Centre for International Contemporary Arts in New York held a retrospective of Kusama’s work,
Which brought her back into the public eye -Since then she’s become more famous than ever, aided like so many artists by the advent of social media -Her work just so happened to be the perfect fit for the age of social media
-There are actually time limits on her infinity rooms partly due to the fact that people would otherwise spend so long taking selfies in them -Kusama’s more recent paintings are almost like micrographs where you can see little amoeba and nematodes swimming around
-It may look like an entirely new style for her, but as far back as the 50s she was exploring similar styles, though with a more muted colour palette -All right so in case it wasn’t obvious already, Yayoi Kusama is incredibly prolific, covering so many themes and styles throughout her long and illustrious career
-Her work is connected to several different art movements, from Minimalism to Pop Art to Surrealism, and not restricted to any one in particular -Some of you may have noticed that although I discussed a bunch of her key styles that there’s one in particular that I haven’t included: the pumpkins
-Well I’m saving that for today’s recommendation, which I’ll get to shortly -I’m sure you’d all heard of Yayoi Kusama before, but I hope I was able to teach you something about the top selling female artist of all time that you didn’t already know
-She’s a pretty polarizing figure in the art world, but there’s a reason why she is the most successful living artist today -There are a bunch of reasons actually -So even if you don’t love her work in particular, I think we can all agree that
She helped push art forward, and likely inspired some of our favourite artists -She was also ahead of her time in that she talked openly about her mental health long before that became normalized – if it even is normalized at this point
-It’s also pretty incredible that at age 94 her work is more relevant than ever – it’s almost like she knew which way humanity was headed -The scope of her influence is just so vast – I guess that’s what you get when you work obsessively for the better part of 80 years
-I guess that’s the lesson in this episode: find something you love, and just work damn hard on it as much as you can, every single day – and then one day if you’re lucky, you might be 94, looking back on your life and thinking that you created something that really mattered, either to
You, your family, your friends, or to the world -And if you’re really lucky, maybe you won’t be looking back at all – you’ll be looking forward, and still creating something as relevant as ever, that the next generation can build upon, connecting the dots you leave behind and
Reorganzing the ideas stored in the collective human consciousness into new iterations that will continue to stretch out to infinity -That’s about it for today though folks, now stay tuned for the bonus topic and today’s recommendation -All right, thanks for sticking around, for today’s bonus topic I wanted to
Discuss something bittersweet: the fact that there are 12 original castles left in Japan -On the one hand, it’s amazing that these relics of a bygone era are still around for us to enjoy -On the other, it’s a shame that so many others were destroyed, either by fire,
Natural disasters, or at the hands of man -In fact, many of the castles were demolished in the Meiji Era when the government was attempting to modernize the country, and saw no use for them -Kind of reminds me of my own hometown of Toronto – we don’t have many old buildings
As the government likes to knock down anything historic and put up glass condos -So when we say original castles we just mean castles that were built before the Meiji Restoration and have survived without being completely reconstructed -So as I mentioned at the beginning of the episode, Yayoi Kusama’s home of Matsumoto,
Nagano Prefecture is also home to Matsumoto Castle, one of the original castles still standing in Japan today -The other original castles are: Inuyama, Himeji, Hikone, Kōchi, Matsuyama, Uwajima, Matsue, Maruoka, Marugame, Bitchū, and Hirosaki -I’ll just go into a couple of these in detail and you can search up the others if you’re interested
-One of the most famous of the surviving castles is Himeji Castle -This glorious white castle sits on a hilltop in Himeji City, Hyōgo Prefecture, not far from Kōbe -The original fort was built in the spot where the castle now sits in 1333, but the castle underwent several renovations throughout the Edo Period
-Himeji is the largest and most visited castle in Japan, and is a UNESCO World Heritage site -It’s a pretty classic tourist spot that a lot of you probably already knew about -So we’ve done the largest castle, now let’s swing the pendulum the other way a bit and talk about a
Significantly smaller one, Inuyama Castle -Inuyama is located just north of Nagoya, on the Kiso River, which serves as the border between Aichi and Gifu prefectures -It’s the oldest of the 12 castles, and though it’s quite small, it’s a wonderful piece of architecture, and the view from the top is phenomenal
-It’s not that busy either, at least it wasn’t when I was there one summer’s day, so you can take your time and enjoy a bit of history -It’s close to Gifu too, which is a pretty slept-on Prefecture – there are so many cool things to see and do there – I’d definitely
Recommend going to Gifu if you have the time -So that’s all I’ll say about the castles of Japan for today, now stay tuned for this week’s recommendation -So for today’s recommendation I want to send you out into the world to see some authentic Yayoi Kusama artwork -I didn’t mention Kusama’s pumpkins
Earlier as I was saving them for this rec -She started drawing pumpkins as a child, and these became a recurring subject throughout the course of her career -She says that pumpkins remind her of humans, and her pumpkin pieces are like self portraits
-The iconic 2.5 metre-wide Pumpkin made of fibreglass and plastic that sits on a pier on Naoshima Island was installed in 1994 – and yeah, that’s where I’m sending you, Naoshima -If this pumpkin is in fact a self portrait, then it is kind of like a way for her to be
Outside in a beautiful location while she is simultaneously living in a mental hospital -This is one of the better examples of someone’s art being an extension of themselves -It’s also a nice reminder to artists to put their art in interesting places – because then
Each time you think about your work you can imagine yourself being in that place -I actually painted a mural in Tokyo a few years ago that I often think back on fondly, and I can still feel the energy of the city in my imagination
-By the way, some of you might remember that the famous Naoshima Island Pumpkin was actually destroyed by a typhoon in 2021, but luckily it was reinstalled the following year -There’s probably a nice metaphor to add here, but I’ll let you think of that one
-Naoshima Island is located just south of Okayama, in the inland sea between Honshu and Shikoku Islands -And just in case a big beautiful pumpkin isn’t enough to get you to Naoshima, the entire island is kind of an art enthusiasts playground, with
Multiple museums and plenty of artworks to see -You can take a ferry to the island and enjoy a nice little day trip, or you can stay overnight at one of many cool accommodations found on Naoshima -Either way, if you like art, architecture, and relaxing in
The sunshine then Naoshima Island is for you -All right that’s all I’ve got for you today -I hope you enjoyed listening to me talk about Yayoi Kusama, and I know I left out a bunch of details, but honestly her career has just been too long to cover in one episode
-Maybe I’ll do a follow-up on this titan of the art world in the future -As for next week, I was originally planning on discussing City Pop music, but due to the recent passing of the legendary manga artist Akira Toriyama, I’ve decided to delay City Pop and instead pay respect to the creator
Of such classics as Dr. Slump and Dragon Ball -So I hope you’ll join me next time as I do my best to honour the career of an artist and writer who helped spark my interest for Japanese media when I as a young boy -That’s it for this week though,
This is Stephen T.M., signing off, and I’ll see you next week for Akira Toriyama
In episode 12 we discuss the life of the prominent Japanese artist Yayoi Kusama. She has been a trendsetter for almost a century, and is one of the most important and impactful artists of the modern era. We also talk about castles, mental health, and Andy Warhol.
Chapters:
0:00 Yayoi Kusama
29:44 12 Castles of Japan
33:08 Naoshima Island
Naoshima Island:
https://maps.app.goo.gl/19UnsfU7EzQ2J4du8
Matsumoto Castle:
https://maps.app.goo.gl/ydhLgo2zb2vrTaKKA
My Twitter:
Tweets by JapanMediaTour
Spotify: