The timestamp is only as accurate as the clock in the camera, and it may be completely wrong. You are invited to enter the world of the artist and 'obliterate' an entirely white domestic space by adding colourful dot stickers to the furniture, objects and. If the file has been modified from its original state, some details such as the timestamp may not fully reflect those of the original file. The Obliteration Room 2002-present is a dynamic artwork by leading contemporary Japanese artist Yayoi Kusama that transforms over time through the active participation of visitors. The obliteration room opened on July 23 as part of the UNIQLO Tate Play series and will run until August 29. The Obliteration Room by Yayoi Kusama: The Pavilion Tokyo 2021 Imagine you cover your entire body with polka dots. The repetitive nature of placement becomes apparent, where it is no longer possible for us to ignore our existence in physical, tangible space.This file contains additional information such as Exif metadata which may have been added by the digital camera, scanner, or software program used to create or digitize it. The room starts all WHITE white, and each visitor can place dot stickers wherever they would like until it’s covered. We draw out our own emotions and place them into patterns, forms and installation. We develop a relationship to the space that is personal. About Yayoi Kusama’s The obliteration room opens on 23 July as part of UNIQLO Tate Play, Tate Modern’s free programme of playful art-inspired activities for families. We are transforming the space through our participation in her vision. 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. 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. ![]() Yayoi Kusama: Infinity Mirror Rooms a beautiful but disquieting cosmic trip. Everyone is taking pictures of themselves and the space. Yayoi Kusama ‘s Obliteration Room is one of the more visually memorable collaborative museum projects in recent memory. So, to Kusama’s The Obliteration Room at the Turbine Hall at Tate Modern. ![]() 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. The obliteration room 2011 revisits the popular interactive childrens project developed by Yayoi Kusama for the Queensland Art Gallerys APT 2002: Asia. 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. ![]() 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. RF 2JC2J83Sharjah, UAE: inside Yayoi Kusamas quirky Obliteration Room, a white space with everyday furniture transformed by visitors with colorful polka. 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. 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.
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