Kusama's mirror room back in Boijmans

Infinity Mirror Room - Phalli’s Field (Floor Show), 1965 (1998). Sewn stuffed  fabric, board, mirror room without ceiling. 250 x 455 x 455 cm inside. Mixedmedia. Installation view: R. Castellane Gallery, New York. Courtesy Yayoi Kusama.
Infinity Mirror Room - Phalli’s Field (Floor Show), 1965 (1998). Sewn stuffed fabric, board, mirror room without ceiling. 250 x 455 x 455 cm inside. Mixedmedia. Installation view: R. Castellane Gallery, New York. Courtesy Yayoi Kusama.

Exhibition
7 September 2010 - 5 December 2010

From today Museum Boijmans Van Beuningen is presenting the work Infinity Mirror Room – Phalli’s Field by the Japanese artist Yayoi Kusama (Matsumoto, 1929). It is a key work in the oeuvre of one of the most important artists of the second half of the twentieth century.

Infinity Mirror Room – Phalli’s Field is the first installation in which Kusama made use of mirrors, a material that she has continued to use ever since and which. Together with her characteristic dots, mirrors are an essential component of Kusama’s. Infinity Mirror Room – Phalli’s Field was Kusama’s second large-scale total environment: a mirrored room that consumes the visitor and makes him or her a participant in the work.

Mirrored Years
In 2008 Museum Boijmans Van Beuningen organised the exhibition Mirrored Years, which showed Yayoi Kusama’s unrivalled vigour by establishing a confrontation between her early installations, films and sculptures from the 1960s and her recent work. Mirrored Years demonstrated the continuity in Kusama’s oeuvre as well as the freshness and innovation of certain themes within her work. Infinity Mirror Room – Phalli’s Field was included in the exhibition.

Multifaceted oeuvre
Yayoi Kusama gained worldwide recognition in the art world almost immediately after she moved to New York in 1958. She created a stir with her large installations in which the visitor was surrounded by thousands of small, colourful, stuffed – often phallic – textile objects. Her reputation was especially strong in the Netherlands: in the 1960s she exhibited more frequently here than in any other country. Her presence gave an additional impulse to the development and international recognition of the Dutch Nul group. Working in a variety of disciplines, Kusama developed an increasingly diverse, rich and layered body of work. Her fascination with sensory experiences and large installations has had a significant influence on generations of leading artists.

This autumn the museum hopes to acquire this unique installation for its permanent collection. Alongside many important works by members of the Nul and Zero groups and associated movements, Museum Boijmans Van Beuningen has an extensive collection of Pop art, Op art and Minimalism. Kusama’s work forms an excellent complement to these aspects of the collection.

Take note: due to essential work in the museum Kusama's Infinity Mirror Room will not be on display from 20 September until 14 October.

Back