{"id":1975,"date":"2026-08-30T11:51:25","date_gmt":"2026-08-30T02:51:25","guid":{"rendered":"https:\/\/yayoikusamamuseum.jp\/?page_id=1975"},"modified":"2026-09-07T17:21:52","modified_gmt":"2026-09-07T08:21:52","slug":"2026first","status":"publish","type":"page","link":"https:\/\/yayoikusamamuseum.jp\/en\/exhibition\/past\/2026first\/","title":{"rendered":"KUSAMA\u2019s POP | Past Exhibition"},"content":{"rendered":"
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Past Exhibition<\/h1>\r\n <\/div>\r\n \r\n
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AIRMAIL STICKERS<\/em> (detail)
1962\/1992
\u00a9 YAYOI KUSAMA<\/p>\r\n <\/div>\r\n

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Title<\/p>\r\n <\/div>\r\n

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KUSAMA\u2019s POP<\/h1>\r\n <\/div>\r\n <\/div>\r\n
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\r\n Yayoi Kusama\u2019s work, with its vivid colors and striking clarity, has often been regarded as \u201cpop.\u201d When tracing back, this characterization reveals intersections between her work and the Pop Art movement that flourished in New York in the 1960s, where she was then based. Yet her practice is rooted in deeply personal impulses\u2014hallucinations and obsessions\u2014through which she layers everyday imagery with inner visions to create a distinctive artistic world.\r\n <\/p>\r\n

\r\n Focusing on Kusama\u2019s distinctive brand of \u201cpop,\u201d this exhibition explores the breadth of her creative output. Collages that fill the picture plane with identical printed materials, such as airmail stickers, reflect a mass-consumption society while also exposing the obsessive impulses that drove her practice. A three-dimensional work featuring a mannequin covered in macaroni likewise unites mass-produced food with Kusama\u2019s deeply personal obsessions. This impulse toward repetition extends to self-portraits and other works featuring the artist herself, proliferating and circulating across diverse media, including prints, photographs, flyers, and exhibition posters.\r\n <\/p>\r\n

\r\n In two-dimensional works produced after her return to Japan, as well as in recent large-scale paintings and sculptures, Kusama\u2019s sensibility is clearly evident in her use of primary colors, simple outlines, and the repeated motifs that define her work. The exhibition also features a small mirror room newly unveiled to the public, in which colorful polka dots reflect endlessly, alongside an installation employing inflatable objects that enliven the surrounding space and fill it with color. We invite you to experience KUSAMA\u2019s POP\u2014a world energized by rhythmic repetition and an extraordinary sense of color.\r\n <\/p>\r\n

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\r\n Exhibition Video<\/strong>
\r\n KUSAMA\u2019s POP<\/em> is available down below.\r\n <\/p>\r\n

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\r\n All artworks \u00a9YAYOI KUSAMA
\r\n Coca-Cola \u201cNo Reason\u201d Art Project 2001, Coca-Cola(Japan) Company, Limited (00'08\u2019\u2019-00'15\u2019\u2019)
\r\n Takahashi Ryutaro Collection (00'48\u2019\u2019-01'00\u2019\u2019)
\r\n iida \u201cArt Editions YAYOI KUSAMA\u201d KDDI CORPORATION (03'16''-03'36\u2019\u2019)
\r\n Furniture, textile: YAYOI KUSAMA Furniture by graf (03\u201936\u2019\u2019-03'54\u2019\u2019)
\r\n Film by Masanobu Nishino
\r\n Sound design by Noriaki Okamoto
\r\n \u00a92026 YAYOI KUSAMA FOUNDATION\r\n <\/p>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n