Yayoi kusama self obliteration3/30/2023 ![]() ![]() But for those waiting in line, on the other side, 30 seconds feels like plenty of time. ![]() We're only granted blips of infinity the gulf between space and time is jarring. This happens again, more dramatically, in the other darkened "Infinity Mirror" rooms 'Aftermath of Obliteration of Eternity' and 'The Souls of Millions of Light Years Away,' wherein small LED lights hang from the ceiling to create a kind of sci-fi nightscape, the occupant's body barely detectable in the dark. ![]() The accumulating sense of losing myself, dissolving into the environment-what Kusama has long called "self-obliteration" in reference to a range of her work-seemed to peak just before the door opened. I imagine, rather than the potency of the illusion would petering out, it would grow stronger as the physical memory of finite space faded. If you use Instagram, you've most likely seen one or 200 of these selfies already.Īfter 20 seconds, the door opens, and I'm wondering what would happen if I stayed in there for 20 minutes or more. And the hype is in growing abundance as more "Infinity Mirror" selfies pop up on social media nevermind news coverage. An art experience that's mostly just waiting in lines to experience a total of three minutes of the show's supposed highlights-doesn't sound worthy of all the hype. Erected inside the Hirshhorn's top-floor galleries amidst Kusama's sculptures and two-dimensional work, each installation holds only two or three people for 20 to 30 seconds at a time before the museum staff opens the door and ushers them out to let the next group in-a measure to meet the needs of the huge foot traffic. Once these visitors finally enter the museum, they have to wait in more lines in order to experience the exhibition's main draw: six shed-sized rooms, each housing one of Kusama's oft-Instagrammed installations comprised of lights or small objects endlessly reflected and repeated in the mirror-lined walls and ceilings. ![]()
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