installation art

"Disturb Me Bed"

Biography :

It was a group work inspired by Yayoi Kusama. But it change the concept into disturb me Bed.

Disturb Me - 05/17/08

“Disturb Me” is an interactive installation between human and his environment. It is to make perceptible the reciprocal links and often forgotten contact, that we maintain with our environment.

The projection depends on the sound emitted by the spectators and creates consequently, a transitory and colored environment. The projected forms are revealed when in contact with surfaces of the room.

The senses are awakened, the room becomes alive.

“Disturb Me” is an innovative interactive installation targeted to explore the relationship between people and their surroundings. The White Hotel in Brussels receives their guests and enthralls them into partaking in interactive light shows, as opposed to the more traditional ‘do not disturb’ signs at each door. The main purpose of this installation is to construct audible mutual associations and much elapsed contact which we have with the environment.

The room immediately becomes vibrantly animated soon as participants’ steps into the room. As the projection relies heavily on sound emissions, these anticipated shapes are exposed only upon contact with surfaces of the space. When this happens, the room is transformed into a visual fest of colors.

The senses are stimulated and the room becomes wonderfully vivacious. Although there are not many reviews available for this interactive light display, “Disturb Me” is a phenomenal visual masterpiece, coined to re-establish the connection between us and our surroundings through the sound medium. When a room’s occupant emanates resonance, colored orb projections starts to materialize. These projections then begin to vary, pool and plummet in accordance to the fixtures and corporeal surfaces in the room.

Not much has been written about the set up verification, and how exactly these mood-sensing protuberances recognize where to set out to, but these illustrations at the White Hotel in Brussels are quite spectacular and proffers cool and ambient depictions of subsequent echelons of interactive and distinctive illumination. It is undoubtedly the wave of the future, a one-of-a-kind hotel experience for those seeking something different

interactive installation

Yayoi Kusama

Biography

Started to paint using polka dots and nets as motifs at around age ten ,and created fantastic paintings in watercolors, pastels and oils. Went to the United States in 1957. Showed large paintings, soft sculptures, and environmental sculptures using mirrors and electric lights. In the latter 1960s, staged many happenings such as body painting festivals, fashion shows and anti-war demonstrations. Launched media-related activities such as film production and newspaper publication. In 1968, the film “Kusama’s Self-Obliteration”which Kusama produced and starred in won a prize at the Fourth International Experimental Film Competition in Belgium and the Second Maryland Film Festival and the second prize at the Ann Arbor Film Festival. Held exhibitions and staged happenings also in various countries in Europe. Returned to Japan in 1973. While continuing to produce and show art works, Kusama issued a number of novels and anthologies. In 1983, the novel “The Hustlers Grotto of Christopher Street” won the Tenth Literary Award for New Writers from the monthly magazine Yasei Jidai. In 1986, held solo exhibitions at the Musee Municipal, Dole and the Musee des Beaux-Arts de Calais, France, in 1989, solo exhibitions at the Center for International Contemporary Arts, New York and the Museum of Modern Art, Oxford, England. In 1993, participated in the 45th Venice Biennale. Began to create open-air sculptures in 1994. Produced open-air pieces for the Fukuoka Kenko Center, the Fukuoka Municipal Museum of Art, the Bunka-mura on Benesse Island of Naoshima, Kirishima Open-Air Museum and Matsumoto City Museum of Art, , in front of Matsudai Station, Niigata,TGV's Lille-Europe Station in France, Beverly Gardens Park, Beverly hills, Pyeonghwa Park, Anyang and a mural for the hallway at subway station in Lisbon. Began to show works mainly at galleries in New York in 1996. A solo show held in New York in the same year won the Best Gallery Show in 1995/96 and the Best Gallery Show in 1996/97 from the International Association of Art Critics in 1996. From1998 to 1999, a major retrospective of Kusama’s works which opened at the Los Angeles County Museum of Art traveled to the Museum of Modern Art, New York, the Walker Art Center and the Museum of Contemporary Art, Tokyo. In 2000, Kusama won The Education Minister’s Art Encouragement Prize and Foreign-Minister’s Commendations. Her solo exhibition that started at Le Consortium in France in the same year traveled to Maison de la culture du Japon, Paris, KUNSTHALLEN BRANDTS ÆDEFABRIK, Denmark, Les Abattoirs, Toulouse, KUNSTHALLE Wien, Art Sonje Center, Seoul. Received the Asahi Prize in 2001, the Medal with Dark Navy Blue Ribbon in 2002, the French Ordre des Arts et des Lettres (Officier), and the Nagano Governor Prize (for the contribution in encouragement of art and culture) in 2003 In 2004, Her solo exhibition “KUSAMATRIX” started at Mori Museum in Tokyo. This exhibition drew visitors totaling 520,000 people. In the same year,another solo exhibition started at The National Museum of Modern Art, Tokyo In 2005, it traveled to The National Museum of Modern Art, Kyoto, Hiroshima City Museum of Contemporary Art, Contemporary Art Museum, Kumamoto, Matsumoto City Museum of Art. Received the 2006 National Lifetime Achievement Awards, the Order of the Rising Sun, Gold Rays with Losette and The Praemium Imperiale -Painting- in 2006. In 2008, Documentary film, (near equal) series, the fifth. [ Yayoi Kusama, I adore myself.] was released. Fireflies on Water : Yayoi Kusama is one of the most significant contemporary artists to emerge from Japan. Suffering from 'rijin'sho', or depersonalisation syndrome, Kusama's art triggers visual experiences that metaphorically communicate th e hallucinations, or veil of dots, she has endured since she was a child. This vibrant iconography, often transposed as nets or auras, dominates her practice. Fireflies on water was specifically conceived for 'APT 200 2: Asia-Pacific Triennial of Contemporary Art', and continues her series of 'Mirror/Infinity' rooms, produced since 1963. In this complex installation, a purpose-built room lined with mirrored glass contains scores of neon coloured balls, hanging at various heights above the viewer. Standing inside on a small platform, light is infinitely refracted off the mirrored surfaces to create the illusion of a never-ending space.