May 9th, 2019
May 9th, 2019
”Comprised of 1,500 mirrored stainless steel spheres, Narcissus Garden landed in a former train garage that dates to the time when Fort Tilden was an active US military base. The mirrored metal surfaces reflect the industrial surroundings of the now-abandoned building, drawing attention to Fort Tilden’s history as well as the devastating damage inflicted on many buildings in the area by Hurricane Sandy in 2012.
Narcissus Garden was first presented in 1966, when Kusama staged an unofficial installation and performance at the 33rd Venice Biennale. The silver spheres, originally made from plastic, were installed on the lawn in front of the Italian Pavilion, reflecting the landscape of the exhibition grounds. Kusama herself stood among them, barefoot and dressed in a gold kimono, alongside yard signs inscribed with the words “Narcissus Garden, Kusama” and “Your Narcissism for Sale.” Throughout the opening day of the exhibition, Kusama remained in the installation, tossing the spheres in the air and offering to sell them to visitors for 1,200 lire (approximately $2) each. The action, which was viewed both as self-promotion and a critique on the commercialization of contemporary art, would later be seen as a pivotal moment in Kusama’s career as she transitioned from installation toward the radical, politically charged public performances that would be the focus of her work in the late 1960s in New York City.”
The installation was presented by MoMA PS1, free to those whose way brought them over to the faraway Rockaway.
August 25th, 2018
The exhibition in Chelsea featured two new Infinity Mirror Rooms, one which could be seen through a peephole (below) and another, where the viewers could walk in (from which yesterday’s ”teaser” photos). There was also a red and white polka-dotted space and a larger one featuring sixty-six paintings from the artist’s iconic My Eternal Soul series and three large-scale flower sculptures.
Immerse into Yayoi Kusama’s mesmerizing, beautiful chaos. You may even discover a kind of order behind this explosion of colour, this pandemonium of patterns and shapes, this sensory overload.
After a while, it all starts to make sense.
Festival of Life ran through a limited time only, in David Zwirner Chelsea concurrently with an exhibition of Kusama’s new Infinity Nets paintings, in their uptown location. We never made it to the latter.
December, 6th 2017
Preparing the ground for tomorrow’s sensory overload.
An Infinity Mirror Room, from a past exhibition (through December 22, 2017) at David Zwirner gallery, in Chelsea.
December, 6th 2017
The Music Room
Since the founding of the House of Louis Vuitton, exacting customers have been able to place unique special orders to fulfill their private purposes and dreams. There is no fantasy or extravagance that cannot be packed. Shower, trunk, altar trunk, bed trunk or cigar trunk – in every situation, Louis Vuitton matched the traveler’s ambition and unique needs with equal expertise. Musical instruments, fragile and delicate, are probably the most vulnerable items to pack. Whether a violin, a guitar or the conductor’s baton, cases were designed by the trunk-maker as protection and enhancement.
Studio in a trunk
at the American Stock Exchange Building, through January 7th, 2018.
Admission is free
November 12th, 2017
Artistic interventions by Yayoi Kusama and Lucas Samaras on everyday objects rendering them unusable, thereby transforming them into memorable works of art.
<<To make ”Accumulation No. 1”, her earliest sculpture, Kusama covered an armchair with stuffed and painted phallic protrusions. She hand-sewed each of these elements, later explaining, ”I make them and make them and keep on making them, until I bury myself in the process. I call this obliteration.” When she first exhibited this work, critics were shocked by the humorous, sexualized transformation of an ordinary domestic object. Since then, over the course of her fifty-year career, Kusama has created ”accumulations” of various materials on furniture, domestic objects, clothing and even room-sized environments.>>
<<”Book 4” is a multifaceted object and a miniature world in itself. Although it includes eight fictional narratives written by the artist and surprises such as pop-ups, pockets, interlocking layers, foldouts and hidden pamphlets, it is not a storybook. Encrusted with needles and shards of glass in addition to brightly coloured beads and pieces of mirror, it is difficult, if not dangerous, to handle – the better, perhaps, to guard the secrets that it might contain.>>
MoMA, views from the permanent collection.
January 30th, 2017
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