![]() The repetitive nature of placement becomes apparent, where it is no longer possible for us to ignore our existence in physical, tangible space. We draw out our own emotions and place them into patterns, forms and installation. We develop a relationship to the space that is personal. We are transforming the space through our participation in her vision. We are here to experience the inner workings of a Kusama’s mind. The sense of depth and space both physically and photographically disappear and become a flat surface. My eyes become confused and I become a little dizzy. As I finish my sheet of stickers, I stand back and take this picture.Īs the space now exists as a photograph it seems more overwhelming than it does in the flesh. We will forever be physically present in this room while reminding the world that we were there. Everyone is taking pictures of themselves and the space. There is this comfort that I find more warming than my own home. There is no particular scent to the space, and part of me doesn’t want to leave. Transforming this white space into a psychedelic experience, I start to wonder what it would be like to confine myself to a domestic existence. I feel her anxiety of confinement and recognize that this room is her method of dealing. I have physical contact with the things that make me tick. The Obliteration Room becomes a place of serenity for me. I am contributing to the transformation of what I believe to be the most drab existence that one could experience – the house wife, the domestic caretaker, the person who lives for a man, their children and neighbourhood gossip. Kusama has painted familiar domestic objects completely white and invites us to add our stickers to any spot that we can find. I can’t reach so my boyfriend comes over to lift me up. As I enter with my sheet of multicoloured stickers I go to stand on a chair to put one on the ceiling. Visitors are handed a sticker sheet of colorful dots with which to leave their mark on this. Originally commissioned by the Queensland Art Gallery in Australia, the installation consists of a completely white space fully furnished with entirely white furniture. The line moves at a moderate pace and when we reach the entrance the gallery assistants ask us to take no more than five minutes in the space. The Obliteration Room is one of Yayoi Kusama’s most ambitious interactive works. There is a mailbox, a plastic veranda chair with the number 9393 on a slant close to the entrance. The home is one level with yellow siding, a screen door and red shutters. There is a queue outside the gallery’s main entrance, where a house that reminds me of 1970s suburbia sits with a massive American flag hanging off. This is the first time that I will be seeing her work and this is the first time that this work is being shown in North America. The stickers are on the telephone poles, the streetlights and the ground. The obliteration room coincides with the gallery’s current focus on Japan, including exhibitions Future Beauty: 30 Years of Japanese Fashion and We can make another future: Japanese art after 1989.As we walked along West 19th street towards David Zwirner’s gallery, a bunch of 20s something’s are walking away with different coloured stickers on their faces, body and dogs. ![]() Japanese contemporary artist Yayoi Kusama’s The obliteration room is a fun, engaging exhibition for children and children at heart, who can help add vibrant dot stickers to transform the previously all-white domestic space into a colour-splashed zone. One of QAGOMA’s most popular interactive installations will return home to Brisbane this month, following an extensive tour around the world, during which more than three million cast their eyes over its colourful beauty. ![]()
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