The "other" and the art of collaboration: Louis Vuitton x Yayoi Kusama

In 2009, I participated in an exhibition titled A Passion for Creation in Hong Kong. He presented plans for the Louis Vuitton Foundation for Creation Museum in France, designed by architect Frank Gehry. Should be completed by the end of 2012, house Bernard Arnault (LVMH CEO and President) is extensive art collections. The exhibition Louis Vuitton dialogue with "the other" as part of its exotic location and exclusive collaborations with avant-garde artists over the years. Inducted into the Hall of Fame are Stephen Sprouse, Richard Prince, Takashi Murakami, and now, Yayoi Kusama. German philosopher Hegel was one of the first to argue that self-awareness and knowledge derived from introspection. To understand this, it is necessary to know the other ". By investigating the relationship to and separate self Chanel Shoulder Bags Louis Vuitton: A Passion for Creation Past collaborations. From left to right - Takashi Murakami, Stephen Sprouse and Richard Prince. © Louis Vuitton Yayoi Kusama (b. 1929) is a renowned Japanese artist at the forefront of the avant-garde. The recent collaboration with Louis Vuitton consists of 7 concept stores in key markets - Hong Kong, Tokyo and Ginza in Tokyo, Paris, London, Singapore and New York. The inspiration of the nerves as the twisted sculptures, the bright colorful covers Kusama points expressed. I see this as a form of truth coatings decision, a better idea of ​​Picasso expressed: "Art is a lie that makes us realize the truth." Kusama for customers in his works and deepen as she says, "self-delete." Supported by Louis Vuitton, Kusama retrospective has traveled around the world from Paris, London and New York. Printemps, Paris Ngee Ann City, Singapore September available in all Louis Vuitton stores in Singapore, 2012 If you notice penetrated point rabid Kusama Singapore before. Strangely enough, its presence in nature much freer spirit. Yayoi Kusama - to Paradise Glorious Tulips, 2009 Come. Sky Garden Centre in Singapore. Yayoi Kusama - Ascension of Polkadots on the trees, 2006. Orchard Road, Singapore Biennale. Credit: Wikipedia © Thomas Ong Kusama lives in a mental institution until today. Tormented by hallucinations since young, she translated it into art, documented in his sketchbook. They repeated the symbols of fear possessed proportions. The common themes in his work are those of the stress accumulation and aggregation. Points painted perfectly rounded show intense focus and attention to detail. Controlled recordings reflect a meditative state and a major effort to transcend the barriers of self. Yayoi Kusama at the Yellow Tree room furniture, Nagoya, Japan. © Yayoi Kusama Focus on the yellow trees. Kusama: "The only way to escape these fleeting apparitions was to decipher visually with paint, pen, pencil, or an attempt, what they are, they take control of new and remember pulling each of them." - The Arts in America As an artist takes to the human condition are plagued by negative thoughts, always digging throughout his life to accept. A thought to the point where if you are not the essence of something tacitly feel that opening all the doors in the corners of the mind and lingers in descent insomnia help. In the early stages of obsession, considering not intended as a helpless suffering. It is a necessary blessing leads to action, what. Awareness and comfort Furniture in stress, which is part of the series of accumulation, it covers an entire room in phallus overcomes his fear of the male anatomy. Yayoi Kusama - Compulsion Furniture (retained earnings), 1964 © Yayoi Kusama Yayoi Kusama - Accumulation networks 7, 1962. Credit: MoMA. © Yayoi Kusama Wherever art makes a statement, it confused. This does not mean that we have not thought enough, because there can never be enough thought. People will always be unhappy, even if they are. Set up a Q & A session at the sky You can turn to deepen in all cabinets of the mind to empty. We can not self-knowledge in dealing with the Other ", as Kusama has done with his inner demons. As Minotaur," Other "is monstrous. We feel it is there, apart from us, but we do not know how close or away. know He was soon able to take us without warning. After exploring the mazes Escher infinity and bites the dust, is the search for the mythical Minotaur in an accessible location where the protagonist instead (a sign of the expected future Super Power of Self ) ose place an attempt to understand and conquer. solve this riddle, doors and cabinets, the picture from the other side of the door of the designer, a great plan for a meeting where they hybridize with the artist. Antoine-Louis Barye - Theseus and the Minotaur, 1843. Credit: Walters Art Museum Ask. Before Louis Vuitton Marc Jacobs in a circle Enter the avant-garde artist Yayoi Kusama with Takashi Murakami, Stephen Sprouse and Richard Prince to another, in a Venn diagram. Experimentation and frequent challenges to the standard circle makes it very dynamic. It changes constantly disappear, and reappear. If the circles intersect, they create something unknown, a hybrid half-man half-bull beast named "Other", which is the essence of collaboration. Louis Vuitton traditionally remained in the group of designers, but it is now at the crossroads. Our circle is a bit static, from the other two. This circle is sometimes meets its rare when we come into contact with news about them in relation to their shops, shows, exhibitions, works or objects. Artists are the architects who built the labyrinth, and the walls are their works. They make each maze by. Their own obsessions, doors and cabinets We are cautiously outside the fairways, but the protagonists to put our fears. We leave the paradigm of self-organization, but to his son to get us to trust in. We test the strength of this theme really is, and how it can be tense. We are excited to see how much of the "other" we can not resist, and as the "other" we can be recognized as part of us. The context of the "Other" Artist-Designer Collaborations We arrived at the door. The retrospective exhibition has also been included in the Whitney Museum of American Art in New York, judging by the long lines snaking around the block. We envy those who Untitled, feasting on their brunch. It is a glass separating us from them. You have brilliantly hot pancakes and eggs benedict, while we do not. Already we see taking place and other self-destruction begins. View from the outside. Tickets for Fireflies on the Water in half an hour of the opening of the museum sold but bailiff informed that they appear in more than the duration of the retrospective. Part of the Whitney Collection, this is the first time since he represented Biennale in 2004. We begin our journey into the labyrinth where the animal from another world awaits. The installation features 150 lights suspended over a swimming pool in a multi-level, creating a hallucinatory effect of infinite space. It's a bit like Space Mountain Disney ... There is no end and the bottom stolen magical under your feet. Yayoi Kusama - Fireflies on the Water, 2002. Credit: Jason Schmidt © Yayoi Kusama Yayoi Kusama - Fireflies on the Water, 2002. Credit: © Artfinder Yayoi Kusama When we find our way, our own circle moves to the authors and artists. If we move in another layer of dialogue are required to separate a new dimension and volatile. The unpredictable nature of the other confusing and horrible. His voice whispers send ephemeral visions. Everything is intentionally flat, with no overlap. Each element and draw the shape of a strike in the battle. The struggle for lasting stability. Recent Paintings by Yayoi Kusama, 2010 Yayoi Kusama - Heaven and Earth, 1991. Credit: © Robert Miller Gallery Yayoi Kusama Lose yourself. Credit: Ginny Lost. Credit: Ginny We have control only passionately with an overwhelming desire that are not mitigated by the consumer. We kill and flaunt their fur make toting Speedys announce limited edition: ". We won this time we won our right to live here, the" other "of which you speak, it is now our we have.". Books. Adrian sculpture with pillow soft ball. Marina with Yayoi Kusama, Francis Morris Edition. Myself, Adrian and Ginny. Oxblood 2, 1 Polka. We achieved greater autonomy, with the knowledge of. More status and power We endeavor to the common point of intersection in the cave, where there are quiet, but the illusion does not last forever. For a brief moment, we enjoy the peace of mind. Just for a while until another tug the wire. We are all related to itself permanently expelling the "other." Once our pensions circle, is released after the animal. Yayoi Kusama - Self Obliteration No. 2, 1967 © Yayoi Kusama