< Previous© CANADIAN PRESS/SHUTTERSTOCK, COURTESY OTA FINE ARTS, TOKYO/SINGAPORE/SHANGHAI AND VICTORIA MIRO, LONDON/VENICE, YAYOI KUSAMA 30 Catching the eye Christian Mikunda is regarded as one of the world’s leading experts in marketing. Described by his fans as the “guru of shop dramaturgy,” Mikunda’s book on “hypnoaesthetics” explains how simple interiors can become places of experience. Light spectacle The central element of Kusama’s octagonal Infinity Mirror Room is the revolving crystal chandelier in the middle of the room – the “Chandelier of Grief.” The chandelier is projected onto the walls by a hexagonal glass structure, and the image is repeated many times, creating the illusion of a never-ending space. Some light rays are fractured by the crystals and split into bright colors, creating an uplifting feeling. The ingeniously mirrored room means the light and its e ects keep moving constantly. Visitors encounter themselves again and again and experience an extraordinary process of self-recognition. “The room has an utterly transcendental e ect and inspires a whole range of very di erent feelings,” explains Carla Rumler. The “Chandelier of Grief” is open to visitors of Swarovski Crystal Worlds all year round, so that they can experience infinity for themselves. As Rumler is aware, this is something quite extraordinary: “Experiencing the Infinity Mirror Room “Chandelier of Grief” is a chance not only to discover a piece of art and a Chamber of Wonder, but also to discover yourself.” “The room has an utterly transcendental e ect and inspires a whole range of very di erent feelings.” CARLA RUMLER, Cultural Director Swarovski and Curator of Swarovski Crystal WorldsKusama worldwide © CANADIAN PRESS/SHUTTERSTOCK, COURTESY OTA FINE ARTS, TOKYO/SINGAPORE/SHANGHAI AND VICTORIA MIRO, LONDON/VENICE, YAYOI KUSAMA 31Chandelier of Grief “She is the first Japanese female artist – indeed perhaps the only one – to have fans all around the world,” wrote art consultant Yasuaki Ishizaka in the New York Times in September 2017. Kusama’s art succeeds because of its universality, reaching out beyond borders. Japan, Naoshima, Yellow Pumpkin (1994) USA, Los Angeles, The Broad, Infinity Mirrored Room – The Souls of Millions of Light Years Away (2013) USA, Beverly Hills, Hymn of Life: Tulips (2007) England, London, Victoria Miro, Garden of Women in Blooming Youth (2018) Australia, Canberra, National Gallery of Australia, The Spirits of the Pumpkins Descended into the Heavens (2017)32 Text – Simon Leitner Photos – Axel Springer AS IF YOU WERE IN A DREAM33Carousel D istinguished by abstract forms and fantastic figures, numerous small details, an impressive interplay between black, white and gold light and music, mirrors and crystals, the Carousel is one thing above all: a real eye-catcher. To the amazement of the young and young-at- heart, the piece designed by the Spanish artist Jaime Hayon has been installed in the garden at Swarovski Crystal Worlds since last summer. “It was my goal to create a playful, dreamy world that is accessible to everyone,” says the creator of this unusual carousel. “It was about joy and movement. And I wanted the individual elements to tell a story.” Wide-ranging influences Hayon sought inspiration from many di erent sources when he was designing the Carousel. He credits a wide range of influences from circus and theater to African folklore and manga – the shoes of his character figures, for example, suggest traditional Japanese wooden sandals. “In a certain sense, the Carousel is the epitome of my creative work,” Hayon says. “My focus is always on the freedom to com- bine various components – in an o -beat way. That is the greatest challenge for me.” The Carousel also reflects Hayon’s approach to his art in another respect – it can also be seen as the embodiment of one of his guiding principles. “I have many mottos, but one of the most important is ‘Have fun with what you’re doing.’ When I’m doing creative work, I want to enjoy it and have a good time.” And of course, this also applies to the visitors of the Carousel. Imaginative, playful, dreamy – the Carousel, an artwork created by the Spanish celebrity designer Jaime Hayon, promises visitors to the Giant a ride into a magical world.• The ceiling, characterized by abstract forms, is not just a highlight for Hayon – it may even be the most extraordinary part of the artwork he designed. “The ceiling is definitely a marvel of craftsmanship and creates a very special atmosphere,” the artist states. “The drawings seem to float in an ocean of crystals, which is very impressive.” So it’s definitely worth remembering to look up. • According to Hayon, the sentinel on top of the Carousel – half bird, half monkey – has a very special function: “It’s a kind of guardian, keeping a watchful eye on the horizon.” • The playful figures, according to Hayon, are a mixture of animals, people, and magic – each one embodies a unique characteristic and has its own individual personality. “Although they are distinct and unique, they all belong to the same universe, they’re all part of my imaginary realm of creatures,” says Hayon. “They are based on a story filled with magic and humor, with a touch of surrealism and mystery. We can’t entirely understand them, and thus they make us feel as if we were in a dream.” • The numerous golden faces mounted around the Carousel represent di erent roles or characters; as Hayon says, they are “masks of personalities.” “Some seem delighted, others surprised, and others in turn look as if they were laughing boldly. And all this is achieved exclusively with geometric shapes.” Fantastical creatures Jaime Hayon Born in Madrid in 1974, Jaime Hayon is an artist and designer who is particularly well known for his installations and sculptures. The Spaniard has received numerous international awards for his works that move between art, decoration, and design. The prestigious Wall- paper Magazine honored him in 2007 as one of the most influential artists of the past decade. For more details, an extensive interview with Jaime Hayon, and a video of the children, visit: kristallwelten.com/blog(in German). BL G 34Dance with a pumpkin A chicken, a dog, or something completely di erent? Children see all sorts of things in the Carousel’s fantastic figures. We asked three of them about their favorites. Julian, age 3: My favorite penguin, it has such a large beak. But real penguins can swim and slide down the ice on their bellies. The one on the Carousel just turns in Elisabeth, age 5: I like the Carousel because it has so many di erent animals. But I like the pumpkin best of all: it’s really big and round and has cut-out eyes. Daniel, age 9: The coolest thing about the Carousel is that it has di erent movements. For example, the mouse doesn’t just turn in a circle but its nose also goes up and down. That’s why I like it the most. Carousel35A dynamic flourish decorated with roses, infused with shimmering pastel light: “Lily Pond” is the latest art installation in the Swarovski Kristallwelten Store Innsbruck. It was designed by the light sculptor Susanne Rottenbacher. A rosy outlook Text – Katharina Wildauer Photos – Axel Springer 36L ily Pond” has graced the foyer of the Swarovski Kristallwelten Store in Innsbruck’s historic old town since September. This wispy, glowing, crystal- line artwork was created by light sculptor Susanne Rottenbacher. The installation is a combination of light art and crystal – a novelty for the artist too. Glowing harmony This is Rottenbacher’s first collaboration with Swarovski, but she felt immediately at home using crystal as a material. “The reflective and refractive properties of crystal astonished me,” says Rottenbacher. Her fascination with technical materials and precision was perfectly suited to crys- tal art; for “Lily Pond” she chose a selection of “crystal rocks,” which complement her light sculpture beautifully. “It came to- gether very naturally: crystal, color, foiled surfaces,” explains Susanne Rottenbacher with delight. The result: foiled acrylic glass surfaces, pastel-colored tubes of light, and delicate Swarovski crystals, harmoniously combined to form a graceful, sumptuous- ly-colored installation. From Monet to Rilke The inspiration for “Lily Pond” comes from the past life of the historic building. The first time Susanne Rottenbacher visited the Swarovski Kristallwelten Store, she noticed an old inn sign above the entrance. Until 1985 there was an inn here called the “Goldene Rose” (Golden Rose). “I love places with a history. My creations always have a lot to do with what the space is like,” explains Rottenbacher. In the history of this building she sees a kind of spiritual connection with the present: “It was a place that appealed to the senses back then too, just as it is today.” The wrought- iron rose became the symbol at the heart of her first design. In her sketches the light sculptor found another facet emerging: Claude Monet’s famous water lilies. This theme then structured her creative concept: 37Lily Pond“Lily Pond” by Susanne Rottenbacher Every day from 8:00 until 19:30 in the Swarovski Kristallwelten Store Innsbruck, at Herzog-Friedrich-Straße 39 38“The ‘Lily Pond’ landscape combines history with art,” explains Susanne Rottenbacher. With her “Lily Pond” installation she wanted to create a sense of dynamism. The installation has an “energy which is quiet but strong, drawing the observer into the space around it.” She describes it as evoking the sort of feeling conveyed by Rainer Maria Rilke’s famous poem The Panther: “A dance of strength around a core...” Quiet light It is this sense of strength that fascinates Susanne Rottenbacher so much in de- signing with light. For her it is always the silent, calm kind of light, never its seductive potential or sensationalist e ects. Light, as she sees it, gives structure to a space: “It has the potential to disperse or delimit, you are never trapped by the material,” explains the artist enthusiastically. In her artworks Rottenbacher creates three-dimensional imagery, making use of what is already in the installation space, in order to reach beyond it artistically: “I aim to add new dimensions to these spaces, to add my signature to them.” She does this with her characteristic technical expertise, precision, and creativ- ity. “It is exciting to imbue these cold, tech- nical materials with a sensual vibrancy,” explains the light sculptor. Crystalline vision Susanne Rottenbacher brings all these ideas to her latest project for Swarovski too. She approaches the historic character of the building carefully, making conscious use of the ancient walls with their uneven surfaces as the background for “Lily Pond.” Even the deep window niches are integrat- ed purposely into the installation. The water lily landscape above them harmonizes beautifully, with light and crystal mingling together to form a complete and coherent artwork: Susanne Rottenbacher’s vision of sensuality comes to life. Susanne Rottenbacher originally studied stage design in New York and went on to complete an MSc in light and lighting design in London. She began her professional career as a stage designer at the Deutsche Oper in Berlin. Since 2004, she has worked as a freelance artist. Her style is characterized by lightness and trans- parency. Listen to Susanne Rottenbacher in our video format “5 ques- tions for,” talking about “Lily Pond” and her light sculptures. Available on the Swarovski Kristallwelten blog: kristallwelten.com/blog (in German). BL G Lily Pond39Next >