![]() Visitors are handed a sticker sheet of colourful dots with which to leave their mark on this stark interior, which slowly becomes transformed into a riot of colour. Originally commissioned by the Queensland Art Gallery in Australia, the installation consists of a completely white space fully furnished with entirely white furniture. The obliteration room is one of Kusama’s most ambitious interactive works. As well as having a chance to cover every available surface of the installation with bright circular stickers, families will also be able to create their own work of art to add to an ever-growing garden in the Turbine Hall. Yayoi Kusama’s The obliteration room opens on 23rd July as part of UNIQLO Tate Play, Tate Modern’s free programme of playful art-inspired activities for families. Today, Kusama maintains an active studio practice in Tokyo, Japan, and is widely regarded as one of the most important artists of the twentieth century.Over the school summer holidays, Tate Modern invites visitors of all ages to help transform a blank white apartment into a sea of colourful dots. ![]() The artist returned to Japan in 1973 and has continued to develop mirrored installations, expanding her earlier work into immense and often immersive environments. In her 1965 Infinity Mirror Room-Phalli’s Field, Kusama first used mirrors to transform the intense repetition that marked some of her earlier works into an enveloping, seemingly endless experience. While living in New York between 19, Kusama worked closely with important artists of the 1960s art world-including Eva Hesse, Allan Kaprow, and Donald Judd-while refining her signature dot and net motifs, developing her soft-sculpture pieces, and creating her first installations and performance-based works. During this period, Kusama began experimenting with abstraction, though it was not until her arrival in the United States in 1957 that she embraced it fully and began the phase that would characterize her mature work. At nineteen, following World War II, she moved to Kyoto to study a traditional Japanese style of painting known as Nihonga that is typically made on washi paper or silk. Recalling Kusama’s earlier polka-dotted environments and her participatory performances of the late-1960s, this installation demonstrates her continued desire for radical connectivity, which she has described as “a way to free each individual and simultaneously reconnect them in mutual obligation.” Here as elsewhere in the exhibit, the polka dot acts as a universal equalizer, a connector between all participants, drawn together in collective participation.īorn in 1929, Yayoi Kusama grew up near her family’s plant nursery in Matsumoto, Japan. Photo by QAGOMA Photography.In one of the exhibition’s largest installations, The Obliteration Room, Kusama encourages visitors to enact a communal “obliteration” of space by coating the white walls of a gallery-complete with furniture and objects-with colorful sticker dots provided by the artist. ![]() Gift of the artist through the Queensland Art Gallery Foundation 2012. Collection: Queensland Art Gallery, Brisbane, Australia. Commissioned Queensland Art Gallery, Australia. Collaboration between Yayoi Kusama and Queensland Art Gallery. Yayoi Kusama (Japanese, born 1929), The Obliteration Room, 2002–present, furniture, paint, and dot stickers. The visitor becomes integral to this work as his or her body activates the environment while simultaneously vanishing into the infinite space.Continuing her exploration of the transience of life and the inevitability of death, this installation creates a harmonious and quiet place for visitors to contemplate their existence, reflect on the passage of time, and think about their relationship to the outer world. ![]() Similar in appearance to stars in the galaxy, hundreds of LED lights hang and flicker in a rhythmic pattern that seems to suspend both space and time. INFINITY MIRRORED ROOM-THE SOULS OF MILLIONS OF LIGHT YEARS AWAYis an immersive environment that fosters an out-of-body experience, heightens one’s senses, and produces a repetitive illusion through the use of lights and mirrors. Yayoi Kusama(Japanese, born 1929), INFINITY MIRRORED ROOM-THE SOULS OF MILLIONS OF LIGHT YEARS AWAY, 2013, wood, metal, mirrors, plastic, acrylic, rubber, LEDs, and water.
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