Yayoi Kusama in Singapore

Yayoi Horse.jpg

Horse Play Happening in Woodstock, 1967

 

Embrace narcissism.

When you recover from the invasion of polka dots on your smartphone—yellow-and-black, primary colours on white, pixelated stardust from some neon galaxy, arresting but soon annoying, with the never-ending shower of selfies, with Singaporean FOMOness suffocating all sensibilities—when you recover from that all, remember that Yayoi Kusama probably wanted you to embrace narcissism.

How else to explain the alleyway of convex mirrors, where you are forced to either stare down or stare at your reflection, sidestepping couples waiting patiently for a break in traffic. Or the Infinity Mirrored Room—Love Forever, into which you pop your head and see your friend’s face, and endless reflections of yourselves lit up by psychedelic lights.

And how else to explain the most popular exhibit, Infinity Mirrored Room—The Souls of Millions of Light Years Away, a hanging-LED infinity mirror room, into which you walk, and immerse yourself in some glittering self-absorbed universe, trying not to think of the next person in line and the usher outside timing you, for precisely thirty seconds, with a stopwatch. (“It’s the only fair way.”)

“Up till Kusama, there were many artists from the Renaissance on, who were involved with perspective and infinity but it was all a fake because you knew, you were the viewer you were always aware that you were the master,” said Richard Castellane, a former gallerist, in a documentary on her.

With her infinity rooms, Kusama fools us in a way never done before. Does “Infinite You” prove your infinite worth or your infinite irrelevance?

The Singaporean, a species engaged in perennial status competition, is the perfect subject for her play. Over the years, we have become far more sophisticated in our social media mating dances. The garish displays of branded leather are disappearing. Today there is a new battleground: travel.

So we are treated to selfies that say nothing more than “I am here.” Of course, all this is not the preserve of the Singaporean, arguably less cultural than generational, of Xs and Ys. Still, as with most money-fuelled pursuits, Singaporeans tend to go the extra mile. (A photo of your holiday business class seat? Are you trying to show off your carbon footprint?)

No surprise, then, that Yayoi’s dots have colonised our smartphones. Yet now that the torrent has slowed, one hopes her audacious aesthetics are not the only thing we remember.

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