Yayoi Kusama by face source

Source 2

就是喜歡！草間彌生。やっぱり好きだ！草間彌生。

We Love Yayoi Kusama.

編輯部 ╱ 編著鄭衍偉 ╱ 譯 Pen

臉譜出版

圓點的狂歡 ─ 草間彌生。ドットのカニバル ─ 草間彌生。

歲的草間彌生，創作生涯完全以日本 82

The carnival of dots – Yayoi Kusama.

今年已邁入

約訪問過草間，並透露對其圓點的喜愛

儘管是 ── 基於截然不同的看法︵註︶ 3。

年，草間在倫敦舉 2000

與美國為根據地，與英國藝術界並未有太多交集。距

︶，於是被認為受到 Painting-By-Numbers 草間的影響。到了今年一月，草間的泰德回顧展開幕前

︽數字畫︾︵

辦首次回顧展，隔年赫斯特就發表了他著名的圓點系列

年前的事。今年二月，泰德現代美術館推 12

離上次她在倫敦蛇紋畫廊︵ Serpentine Gallery ︶的個展，已是

出草間的大型回顧展，橫跨這位﹁圓點教母﹂ 60 多年的

︶ 2。但在交叉閱讀之外，英國媒體消化這段文化距離

正式上架，等於提供英文世界一份絕佳的創作自述︵註

︶英文版，也趕搭展覽熱潮，在今年初於英國書店 Net

間對赫斯特的看法，坐在輪椅上的﹁圓點教母﹂含蓄地

某種程度上被炒成一場圓點正名行動。記者們追問草

特的大型個展。時間或許太巧合，也讓這次展覽開幕在

︶展出，更別說緊接著四月泰德又將推出赫斯 Gallery

創作資歷︵註︶︵ Inﬁnity 夕，赫斯特的圓點畫系列又在古高軒藝廊︵ Gagosian 1，加上她的自傳︽無限的網︾

︵英國青年藝術 YBAs

的方式，則不免又虛弱地祭出了

說：﹁很高興這個我從小開始使用的圓點，在大家齊心︶拿來比較， Sarah Lucas

年出生於日本長野縣松本市，家族 1929 事業是有一百多年歷史的苗圃批發生意，這讓她從小對

草間彌生在

協力之下，變成了通行世界的愛與和平的符號﹂。

家︶ ── 除了把精神官能傾向上輕微得多的艾敏︵ Tracey Emin ︶與盧卡斯︵

更熱門的，當然是把赫斯特︵ Damien Hirst ︶的圓點畫︵ dot paintings ︶再度搬上檯面。

談中，草間不只一次提到母親拘謹嚴格的個性，及男女

受到母親管教問題及保守家庭觀念的困擾。在自傳與訪

歲時就想當藝術家，卻一直 10 開始在紙上鋪陳圓點的時候，赫斯特根本還沒出生。但

關係混亂的父親。小時候，她曾經被母親強迫偷窺父親

植物就很有興趣。草間在

不能怪媒體的聯想，因為在 YBAs 陣營裡，赫斯特是少

這無疑是一場慘烈的類比。當草間彌生在 1950 年代

年，赫斯特便曾在紐 1998

數與草間有交集的藝術家。

I get excited, everyday, at the emergence of many creative images. These are the images of beauty that have appeared since my childhood. Out of the canvases I work on everyday, emerges my life: living, falling ill, aging, etc. And I have continued to create a spectacular and fantastical body of works till this day. I have a wish whenever I have completed a painting, which is to send my sincere message that surges up inside my soul to the world and the universe. I hope viewers will perceive in my paintings the message of my wish for a peaceful world free of wars and conﬂicts. 我每天都會浮現許許多多的創作靈感，為此感到興奮。

這些美麗的景像打從我小的時候就開始出現。

我的生命、生活、疾病、衰老都顯現在我每天工作的畫布當中。

接連完成許多絢爛又充滿想像力的作品。

每當我完成一張作品，我的願望就是將我內在湧發的心意傳達到世界和宇宙。

草間彌生 ─

希望大家可以從我的圖畫當中看到我對和平的冀望，

希望全世界不再出現紛爭與戰火。

徘徊追求愛情的女人們表明自己想要自殺二○○九年│壓克力、畫布│130.3×162cm

Women Wandering in Search of Love Revealed that They Had Suicidal Wishes

2009│Acrylic on canvas│130.3×162cm

想要將我所有的愛，以及夜晚的夢都吃下去二○○九年│壓克力、畫布│130.3×162cm

All About My Love, and I Long to Eat a Dream of the Night

2009│Acrylic on canvas│130.3×162cm

想要像這顆眼睛那樣純粹地活下去

愛永遠都是開放的，超越死亡

二○○九年│壓克力、畫布│130.3×162cm

二○○九年│壓克力，畫布│130.3×162cm

I Want to Live Honestly, Like the Eye in the Picture

Love Keeps Eternally Unfolding, by Overcoming Death

2009│Acrylic on canvas│130.3×162cm

女人們等待愛情，但男人們總是離去

看看求愛的女人們

二○○九年│壓克力、畫布│130.3×162cm

Women Wait for Love, But Men Always Walk Away

Look at the Gathering of Womenin Search of Love

2009│Acrylic on canvas│130.3×162cm

愛抵達地球，帶著宇宙的故事

邂逅開花的季節

二○○九年│壓克力、畫布│130.3×162cm

Love Arrives at the Earth Carrying with it a Tale of the Cosmos

An Encounter with a Flowering Season

2009│Acrylic on canvas│130.3×162cm

如今早春的光輝擄走我的心二○○九年│壓克力、畫布│130.3×162cm

Captivated by the Brightness of Early Spring Now

2009│Acrylic on canvas│130.3×162cm

求道的閃耀之星在宇宙的遠方，越追它越亮二○○九年│壓克力、畫布│130.3×162cm

午後的自畫像是一種讓人悸動不已的幸福二○○九年│壓克力、畫布│130.3×162cm

Shining Stars in Pursuit of the Truth are off in the Distance Beyond Universe, The More I Sought the Truth, Brighter they Shone

My Self-Portrait in the Early Afternoon Makes My Heart Tremble with Happiness

2009│Acrylic on canvas│130.3×162cm

愛情綻放的喜悅

眼

二○○九年│壓克力、畫布│194×194cm

二○○九年│壓克力、畫布│162×162cm

Joy I Feel when Love Has Blossomed

Eyes

2009│Acrylic on canvas│194×194cm

2009│Acrylic on canvas│162×162cm

訴說人間的一切，等待和平到來

戀愛萌芽

二○一○年│壓克力、畫布│130.3×162cm

It Tells Everything About the World of People, and Awaits the Arrival of Peace

Awakening of Love

2010│Acrylic on canvas│130.3×162cm

愛情無限閃亮

令人厭惡的戰爭結束之後，幸福充滿我們的心

二○一○年│壓克力、畫布│194×194cm

Love Was Inﬁnitely Shining

Once the Abominable War is Over, Happiness Fills Our Hearts

2010│Acrylic on canvas│194×194cm

奮鬥之後想要死在宇宙盡頭

我的眼睛們

二○一○年│壓克力、畫布│162×162cm

二○一○年│壓克力、畫布│194×194cm

After the Battle, I Want to Die at the End of the Universe

Eyes of Mine

2010│Acrylic on canvas│162×162cm

2010│Acrylic on canvas│194×194cm

埋骨荒野

隱藏的時間

二○一○年│壓克力、畫布│162×162cm

Death in the Field

Secret Moments

2010│Acrylic on canvas│162×162cm

揮別夜晚清晨降臨

向晚的夢

二○一○年│壓克力、畫布│162×162cm

The Daybreak: The Arrival of Morning

Dream I Dreamed Last Night

2010│Acrylic on canvas│162×162cm

春至二○一○年│壓克力、畫布│194×194cm

Spring Has Come

2010│Acrylic on canvas│194×194cm

心靜

綠色平原

二○一○年│壓克力、畫布│162×162cm

Serene Mind

A Green Plain

2010│Acrylic on canvas│162×162cm

銀色的宇宙二○一○年│壓克力、畫布│194×194cm

The Silvery Universe

2010│Acrylic on canvas│194×194cm

就是喜歡！草間彌生。やっぱり好きだ！草間彌生。

草間彌生。 ─

────────────────────

We Love Yayoi Kusama 目次

圓點的狂歡ドットのカニバル

The carnival of dots – Yayoi Kusama. 草間世界之謎。単純にして複雑な、草間ワールドの謎。 Simple ─

but complex – the enigma of Kusama’s world. 繽紛圓點都市現身。町中へ

單純又複雜

───────────────────

7 58 飛び出す、カラフルなドット。 Colorful dots jumping out into the town. 草

Yayoi Kusama’s worldwide recognition. 揭開﹁圓點﹂當中蘊含的意義。水

間彌生贏得世界認同的理由。世界が草間彌生を認める、その理由。 Reason for

和強迫觀念相互抗衡的﹁軟雕塑﹂。強迫観念に対峙した、﹁柔らかな彫刻﹂。

Soft

玉に込められた意味を、解き明かす。 Finding meaning encapsulated in dots.

sculpture obsession. 眾人嘆為觀止的乍現活動。誰もが唸った、ハプニングと

As a material, there

110

術。大空間や野外へ広がる、次元のアート。

is nothing more wonderful as the “mirror”. 擴展到大型空間和戶外的立體藝

面﹂更棒的媒材。この上なく素晴らしい、鏡という素材。

いう行為。 Happenings that stirred up reactions from everyone. 沒有比﹁鏡

101

Three-dimensional art spreading

118

to large spaces and the outside. 追尋少女失落的幸福。かなわなかった、少

松本時期全心畫畫，才能萌芽。ひたすら描いた松本時代、才能が萌芽。

The

女の幸せを求めて。 Yearning for a young girl’s happiness that eluded her.

124

Matsumoto period of fervent painting—a genius bourgeons. ﹁草間時裝﹂推

128

spreads across the U.S.. 不停增生的鮮豔版畫世界。色鮮やかに増殖を続ける、

展到全美各地。全米で展開された、クサマ・ファッション。 “Kusama Fashion”

132

The world of printmaking: endless propagation of vivid ima-

gery. 愛人之死於拼貼中若隱若現。コラージュに見え隠れる、愛する人の死。

版画の世界。

138

Literature

150

film shows hitherto unknown face of “genius”.

現﹁天才﹂不為人知的一面。密着映像が伝える、天才の知られざる顔。

154

世界品味人士都喜歡草間彌生的作品。世界の目利きが愛する、クサマ作品。

───────────────────

Intimate

also proves fertile ground for her unparalleled creative power. 貼身拍攝顯

的創造力在文學領域也開創佳績。文学にも花開く、比類なき創造の力。

Dead loved ones appearing in and out of the shadows of collages. 舉世無雙

144

Kusama’s fans in Japan tell. 走訪日本的藝術據點參觀傑作。傑作に出合え

日本的草間迷。日本の草間ファン、私はここが好き。 What I like most...

181

Art spots to encounter masterpieces in Japan.

193

流行商品每件都讓人很想要。ポップなグッズは、どれも欲しくなる。 Pop mer-

る、日本のアート・スポット。

是

Kusama’s works loved by connoisseurs around the world. 我最喜歡的特質

161

藝術家的足跡魅力長存。カリスマであり続ける、芸術家の足跡。 Footprints of

───────────────────

chandise that are all irresistible.

206

an endlessly charismatic artist. 草間對於創作的追尋到死也不會結束。草間の

209

after her death.

求道は、死しても終わらない。 Kusama’s pursuit of truth will never end even

219

就是喜歡！草間彌生。やっぱり好きだ！草間彌生。

We Love Yayoi Kusama.

President of Kyoto City University of Arts

。﹂︵引自一九五五年

﹁我會持續創作直到惡魔認輸。因為惡魔雖然是藝術的敵人，卻更是創作的戰友︽藝術新潮︾草間彌生寫的︿新人投書傻子伊凡﹀︶

作品，吸引許許多多的目光。依據某些觀察角度，草間的創作模式可以說是極其單純。不論是用圓點圖案或網點填滿畫面的圖畫，還是用

激烈的創造精神依舊在她內心不斷翻騰。對於那些認定

在乎遭到孤立、勇敢向前邁進。在迎接八十歲的同時，

家草間彌生。﹂她否定既成秩序不停創新，並且完全不

草間小姐在公眾面前屢屢這樣宣布：﹁我是前衛藝術

只好將那些美麗又不穩定的意象轉化成為畫面。她受到

她自身的幻視體驗。她為了擺脫那種籠罩自己的恐懼，

的圖案填滿覆蓋。那些圓點或網點畫面的原型正出自於

有時候會產生幻覺看到身旁周遭的牆壁或桌子遭到相同

停反覆，毫不厭倦地進行增殖複製。小時候，草間彌生

陽具形狀的軟墊包覆物件，她都是用一個單一的元件不

前衛這個字眼已經過氣的人來說，這聽起來或許相當不︶的驅使，才會無盡反覆這樣 obsession

內在強迫觀念︵的行為，透過這種反覆的過程，她可以把自己從壓抑的

衛性建立於她特殊的精神病理背景，因此我們可以說她

必須和周遭無法理解自己的人艱困地進行對抗。她的前

麼一帆風順。相反地，她遭遇過人生各式各樣的考驗，

面對她的作品，都可以感受到對所有人一視同仁開放的

種同時拯救自己與世界的心願。她的目的是希望當我們

留於個人的領域，而是擴及到更普遍的層面，連接到一

然而她真正的偉大之處在於這種救贖的希望不僅僅停

心理狀態裡面解放出來。

遭遇的狀況比一般人更加嚴峻。然而特別值得一提的

創造出一種近似於宇宙或者是天國那樣的炫麗空間。

大愛。那種異常的執念，可以說是透過某種神祕的迴路

身分廣受社會認同，然而她一路發展至今，過程並不那

近年來，草間彌生以我們這個時代最受敬愛的藝術家

可思議，然而草間彌生本身就是一個不合常理的例外。

︶的身分孤獨前 outsider

是，正因為她是以邊緣人︵

Kusama at a press confe-rence at the international art festival “Aichi Triennale 2010.” She said she felt a resonance with the concept of the new art exhibition and spoke of her sincere attitude towards her creative work.

進，才使得她的世界變得無窮豐富，創造出不可勝數的

二○一○年八月國際藝術節「愛知三年展二○一○ 7」開幕，這張照片攝於記者發表會之前。草間彌生說自己對於這個藝術展的概念有共鳴，並且描述自己對作品所投注的心意。

58 59

單純又複雜 ─ 草間世界之謎。単純にして複雑な、草間ワールドの謎。

京都市立藝術大學校長

Simple but complex – the enigma of Kusama’s world.

建畠晢 1 Akira Tatehata

術 5

草間在紐約時代的活動被視為是極簡藝術和普普藝

的先驅，獲得很高的評價，然而草間的作品在這些

風潮退去之後依舊毫不失色，這正是因為她那種﹁單純

又豐富﹂的創作原理本身相當禁得起考驗。

︶之類的方法潛入意識底下的世界， automatism

似性。然而一般而言，超現實主義的目標是透過自動書

寫︵

抓到意象之後再回到光明的現實。相對來說，草間不需

要這種﹁瘋狂的方法論﹂。因為意識底下的世界就是她現

的是徹底征服我們。最後有一點我一定要指出，草間

實生活的監牢，她的意象蘊含著超乎想像的力量，足以

讓我們看看她的近期作品吧。繪畫上反覆的樣式變得

最近的作品當中蘊藏著一種純淨的精神之光。假使說得

超越曖昧不明的夢。

更加簡化，色彩也變得更明朗鮮豔，然而這並不表示

再大膽一點，那是這位天才不求回報的關懷，是她的本

近作變得更飽滿，繼續引爆衝擊

作品失去緊張感。即使畫面變得更飽滿，草間本身的衝

真。從草間彌生堅持不停創作那些﹁面目不加矯飾的大

草間的創作精力直到今天都沒有任何枯竭的跡象，真

擊性依舊維持在那裡。那些五彩斑斕的巨大花朵雕塑系

肚子南瓜﹂，我們可以看到她個人的淘氣，可是也可以

將之視為是一種溫暖的喜感。她是天使，將認輸的惡魔

變成戰友；她天真，但又具備無以倫比的知性和堅強的

意志。﹁單純又複雜﹂，草間彌生的世界是永無止盡的

列也是經常被人稱之為新普普，帶著讓人寬心的幽默

感，可是同時也讓人禁不住產生某種不舒服的官能性的

印象。

這些作品每件都暗中，不，有時候是明目張膽帶著一

謎，真的是超越我的理解力。

In Kusama’s recent works, although the repetitive patterns are simpler and the colors are brighter and more vivid, the works have not lost a certain air of tension. While the fullness of the drawings has increased, they still possess Kusama’s characteristic impact. In her colorful giant flower sculpture series as well, amidst a light-hearted humorous tone often described as neo pop, there is the unmistakable impression somewhere of

種靈體的氣息。就算說這是幻視者才有辦法召喚出來的

Recent works have greater impact and fullness

非比尋常的異界景象也不為過。有些評論家認為我們可

Often when speaking in public, she openlysays, “I am the avant-garde artist Yayoi Kusama.” She is an artist who rejects the established order and constantly tries to be new— an artist, who despite isolation, boldly advances forward. Now into her eighties, a fierce creative spirit continues to pour out of her. To people who now consider avant-garde to be a dead word, it may sound strange to hear this, but there is no absurdity in her statement, her presence is the rare exception. In recent times, Yayoi Kusama’s status as an artist adored by our generation has been widely accepted in society. Nevertheless, the journey she took to arrive at this point did not follow a simple straight path. Rather, in various aspects of her life, not being understood by those around her made life an arduous struggle. Making it more difficult was the background influence that her unique mental health condition had on her avantgarde qualities. However, it is this isolated path that makes her world a limitless fertile ground for generating works that visually captivate multitudes of people. In some respects, Kusama’s method is very simple. In her paintings covered in polka-dot patterns or net meshes, or her objects covered with phallic cushions, she tirelessly continues a creative process of endlessly repeating and propagating the same pattern. When she was a child, Kusama was often plagued by hallucinations of the walls and table around her being completely covered by the same pattern. The starting point of her drawings of dots and net meshes truly lies in these hallucinatory visions. The only way she could escape from the fear that engulfed her was to make drawings of these beautiful and disturbing images. The endless repetition was action driven by fierce internal obsession—it was an exercise in self-liberation from an oppressive mental state. Yet, her true greatness lies in how this wish for salvation is not limited to her personal domain but rather extends to something more universal. In fact, her work is tied to a prayer of simultaneous salvation for her and the world. This is why when standing in front of her work, one feels her thoughts of great love that are made accessible to all the people. Via some mysterious route, her unique obsession generates beautiful spaces best described as cosmic or heavenly. Kusama’s activities during her New York period are highly regarded as being precursory to the minimal art and pop art movements. But Kusama’s works have not lost their sparkle, even after the wave of these isms have passed, which is testimony to the resilience of the “simple but fertile” principle of her creative process.

以從草間創造的這些意象當中找到她和超現實主義的相

“Until the devil is subdued, my work continues. Because, the devil is the enemy of art; and besides, he is a comrade on the battle field.” — From Assertions of a Newcomer: Ivan the Fool by Yayoi Kusama printed in ‘Geijutsu Shincho’ in 1955.

繽紛圓點都市現身。町中へ飛び出す、カラフルなドット。

一一年五月以西班牙為首，各國頂級的美術館開始 ○

Colorful dots jumping out into the town.

二

頁︶，而且除了近年美國和日本的據點

依序召開大規模的草間彌生展。我們注意到新作大量展

出︵參見第

之外，她在亞洲和歐洲也相當活躍。

尤其是近期作品當中有許多公共藝術和戶外裝置，包

含許多設置在美術館之外的作品。大量銀色球體漂浮在

池塘上或者是圓點圖案的物件配合水的動態漂浮盪漾，

而且還會隨著天色顯現出不同的感覺。即使這只是暫時

性的裝置，還是在人們心中留下相當強烈的印象。鮮豔

年十二月起，彩繪紅色圓點的巴士開始出 ○

的花和少女雕像突然在都市裡現身，將周遭環境轉變成

一 ○

為﹁草間世界﹂，經過附近的人應該都會感覺特別興奮。

從二這些作品延續早期貫徹至今的風格，都是反覆運用圓

點或網眼等相同的主題。近期的素描或立體作品也是一

些圖案雖然源自於草間的強迫觀念，然而近期的作品卻

現在草間彌生的出生地松本市。讓人耳目一新的藝術

很久很久以前草間就進行過許多這類在美術館外的活

都是讓人覺得明朗又強悍，積極肯定生命，不是讓人感

樣，全部都用圓點或網包覆，或者是反覆描繪眼睛。這

動。她從紐約時代開始就曾經在街頭進行游擊性的演出

到作者內在有什麼糾葛或痛苦。生命本身即藝術

品在城市裡面奔跑，是一種非常痛快的景致。

吸引眾人的目光。對於草間來說，藝術就是生存本身，

這樣的喜悅在吸引大家。︵青野尚子︶

是 ─

在美術館之外體驗藝術也是理所當然。 63

我的未來坐在岩石上二○一○年│複合媒材

520×380×380cm ─ 這件作品展示在「屏東農業生物技術園區」，是台灣的生化科技研究據點。作品當中寄託的訊息是希望科學進步可以帶來未來的希望。

My Futures Seated on a Rock 2010│Mixed media 520×380×380cm ─ A work exhibited at the “Pingtung Agricultural Biotechnology Park, ” which was established as a center for biotechnology research in Taiwan. The work is entrusted with the message of a bright future through scientific development.

uncanny sensuality. In all of these works, there exists a feint, or at times obvious, presence of something spiritual. They present an outer worldly view that can only be created by someone with hallucinatory experience. Some art commentators look to draw a comparison between these images of Kusama’s and surrealism. However, in contrast with surrealism, whose aim, generally speaking, is to enter the subconscious world using methods such as automatism, access images, and then return to the daytime world, Kusama has no need for such “methodological craziness.” For Kusama, the world of the subconscious is real—a cage imprisoning her. Her images have extraordinary intensity that goes beyond vague day dreams. We cannot but be overwhelmed by Kusama’s unstoppable creative energy. But what should be mentioned lastly is that her recent works possess the sparkle of a pureness of spirit. This loveliness and naivety is unmistakably the free gift of her genius. For example, in her pumpkins of “magnanimous plain features,” which are an ongoing fixation, it is possible to see a cheeky, warm-hearted sense of humor. She is an angel who nominates the devil, whom she subdued, as her comrade on the battlefield, naive, but blessed with rare intellect and firm mind. “Simple yet complex,” Yayoi Kusama’s world is an extraordinary enigma beyond my understanding.

攬鏡自照的庭院二○一○年│不銹鋼製鏡球 Φ30cm ─ 這是設於巴黎杜樂麗公園的裝置作品。大批銀色的球體漂浮在池塘上，映出景物和天空的色彩。

Narcissus Garden 2010│ Stainless mirror balls Dia. 30cm ─

An installation at Tuileries Gardens, Paris. Floating on a pond, the numerous silver balls reﬂect the visible surroundings and the hue of the sky.

In May 2011, a large-scale Yayoi Kusama exhibition that will tour the premier art museums of various countries began, with Spain as the first port of call. In this exhibition, many new works (see p.4-19) are presented, reflecting the attention she is now receiving in Asia and Europe from her activities there in addition to the U.S. and Japan where her bases are. In particular, there are many recent works exhibited outside the art museum such as public art and environmental installations. The numerous silver balls floating on a pond and the polka-dot objects sway and roll together with the water’s movements. Differing in appearance according to the hues of the sky, these installations, even those that are

一起去綻放的鬱金香樂園吧。二○○九年│複合媒材

265×907×558cm ─ 這是設置在新加坡購物商場「中央園區」十一樓屋頂花園的作品。可愛的少女位在中心讓人想起草間彌生的少女時代。

Let’s Go to a Paradise of Glorious Tulips. 2009│Mixed media 265×907×558cm ─ A work installed on an 11thfloor roof garden of the shopping mall Orchard Central in Singapore. A lovely girl at the center is reminiscent of girlhood Kusama.

temporary, leave resounding memories in people’s hearts. The colorful flowers and statues of young girls that suddenly appear amidst the town transform the surroundings into a Kusama World. Every time someone passes by such work, they must surely feel a unique upsurge of sentiment. Since December 2010, a bus painted with red polka dots drives around Matsumoto city. To see art dashing smartly through town is a refreshing sight. These activities outside the art museum have long been energetically pursued by Kusama. During her New York period, she grabbed attention through guerilla performance on the streets. Because art for Kusama is life itself, it is natural for art to be experienced outside the art museums. In these works, right from her early period, are the same recurring motifs such as polka dots and net meshes. Similarly, in both her recent drawings and objects, the surface is covered with dots and nets, and eyeballs are drawn repetitively. Although the origin of these patterns came from Kusama’s obsessional ideas, in her recent works, one feels the brightness and strength that positively affirms life, rather than the artist’s internal conflict and suffering. It is this energy that entices people to the joy where art and life are one.

個展「草間彌生在十和田唱歌」二○一○年│十和田市當代美術館 9 ─ 美術館的建築配合個展出現圓點。周邊的藝術廣場也設置了戶外裝置藝術「永遠的愛在十和田唱歌」。

Solo exhibition “YAYOI KUSAMA Singing in Towada” 2010│Towada Art Center ─ During the solo exhibition, the art center building was covered in dots. The outdoor installation Love Forever, Singing in Towada was installed in the Art Square surrounding the center. 宇宙中的圓點南瓜二○一○年│複合媒材

230×直徑200cm ─ 十和田市當代美術館周邊的商店街也都點綴圓點圖案的裝飾。商店的櫥窗裡設置了草間的作品，店裡也播放草間的影片，草間的作品遍布在整座城市當中。

Polka Dotted Pumpkin in the Universe 2010│Mixed media 230×Dia. 200cm ─ Polka dot patterns extended as far as the shopping arcade near the Towada Art Center. Kusama’s works were placed in the show windows of shops, and inside a shop, a Kusama film was shown. The whole town was ﬁlled with Kusama’s work.

通往宇宙的旅程一九八八年│複合媒材

195×150×82cm ─ 「草間彌生在十和田唱歌」的展示一景。從早期珍貴的素描和油畫到軟雕塑，全面介紹草間彌生的創作。

Take-off into the Space 1988│Mixed media 195×150×82cm ─ A scene from the “YAYOI KUSAMA Singing in Towada” exhibition. The overall aspect of Kusama was presented including precious drawings and oil paintings from her early period and soft sculptures.

傳向宇宙，圓點南瓜二○○九年│複合媒材

200×150×150cm ─ 發表於十和田的新作。以牆上的凸面鏡映出南瓜的物件。南瓜的點點和點狀的凸面鏡增生出無限延續的圓點世界。

Reach Up to Universe, Dotted Pumpkin 2010│Mixed media 200×150×150cm ─ A new work presented at Towada. A concave mirrored wall reflects a pumpkin object. The dots of the pumpkin and the dot-like concave mirror create a polka-dot world extending to infinity.

YELLOW TREE / Living Room 2010 二○○二年│複合媒材│尺寸可變 ─ 草間彌生身披自己設計的洋裝坐在「愛知三年展二○一○」參展的草間展示間裡面。房間牆壁、桌椅全部都覆上彎彎曲曲的圓點圖案，扭曲觀眾的遠近感。 YELLOW TREE / Living Room 2010 2002│Mixed media Variable size ─ In the Kusama room exhibited at “Aichi Triennale 2010,” Yayoi Kusama sits with her body cloaked in a self-designed dress. The room, in which the wall, sofa and table is covered in a twisting polka-dot design bewilders one ’ s perception of distance.

生命的足跡二○一○年│複合媒材│尺寸可變 ─ 這個裝置同樣展示於「愛知三年展二 ○一○」，設置於一般商業建築的頂樓池塘。圓點浮島隨風飄盪載浮載沉，徹底改變了日常的環境。

Footprints of Life 2010│Mixed media Variable size ─ An installation, also exhibited at “Aichi Triennale 2010,” has been set up on the rooftop of a retail complex. The floating polkadot islands bob and sway in the wind to alter the mundane scenery.

綻放明天的花二○○二年│複合媒材

165×180×190cm ─ 這件由三朵花組成的戶外雕塑作品發表於倫敦的藝廊。鮮豔的花朵雕塑覆滿圓點和網眼，婀娜有致飽滿盛開，將強烈的能量散發到周遭的環境裡。

Flowers That Bloom Tomorrow 2002│Mixed media 165×180×190cm ─ Three flower environmental sculptures exhibited at a London gallery. Covered in polka dots and net mesh, the colorful flower sculptures twistingly blossom in glory, radiating immense power upon their surroundings.

草間彌生贏得世界認同的理由。世界が草間彌生を認める、その理由。

八年十一月。權威的佳士得拍賣中心召 ○○

圓點是﹁圖與地﹂的關係，也是她相當具代表性的一種

表性的形式之一，不過︽ No.2 ︾繪製的白色的﹁網﹂和

Reason for Yayoi Kusama’s worldwide recognition.

開競標。雷曼兄弟才剛倒閉，這場拍賣除了藝術界之

表現手法。有時候白色的網點會跳出畫布，甚至延伸出現在房間當中或者是身體上。草間彌生陷入恐慌，曾經

外，還受到全世界的媒體關注。草間彌生於一九五九年︾是場上引發最多話題的作品。 No.2

活在五

有好幾次不得不打電話叫救護車。一個日本女子獨自生

受到很大的壓力。此外，前途茫茫的她還必須要對抗那

二十％，

即使價格落到平時預估價的百分之五十，買家出手都還

些幻覺。無論是肉體上還是精神上，賭上一切去描繪那

一九五九年十月，她在這樣的狀況下於紐約布拉塔畫

些幻覺究竟有多困難，真的讓人沒有辦法想像。

年代末的紐約，單單這件事情應該就會讓人感 ○

是相當保留。儘管是在這樣的時局，︽ No.2 ︾原本預估價是二五

美元︵約五億五四 ○○○

舉辦滿心期盼的展﹁草間彌生﹂個展。白色的網狀

現實當中卻日復一日遭遇更多煩惱。她必須接二連三克

悶悶不樂的日本生活，希望可以在國外獲得自由，但在

刻家身分的唐納

觀的群眾。研究畢卡索的多爾

漩渦畫在五幅塞滿空間的巨大畫布上，定住所有到場參

廊

服各種問題，譬如病痛和貧困。她把手邊全部的錢都投

讚，草間在紐約第一次亮相獲得很大的成功。這是世界

阿修頓，兼具知名雕 • 到顏料和畫布開銷上，每天都在天亮之前就提筆，將所

注意到草間的瞬間。

等等藝評家都發表文字大力稱

是不停在巨大的帆布上繪製白色的網，直到三更半夜。

她會吸引大家的目光，不單單因為她是日本前來的女

賈德 • 有的力量灌注在創作上。雖然連飯都沒辦法吃飽，她還

草間是在移居紐約的第二年繪製出這張作品。她擺脫

士預期。在所有草間作品當中創下最高價的歷史紀錄。

萬日圓︶，大幅超越相關人 ○○

萬美元，最終結標價卻是五百七十九萬二 ○

由於經濟不景氣，結標價格普遍跌落十五

繪製的油畫︽

紐約，二

The “Mizutama Ranbu” (Polkadot wild dance) bus has been in service since December 2010 in Matsumoto city, Kusama’s hometown. Kusama says, “The polka dots are added as a symbol of peace and human love.” 自二○一○年十二月開始，草間彌生出生故鄉松本市開始啟用「圓點亂舞號」這台裝飾圓點圖案的巴士。草間表示：「妝點的圓點是和平與人類大愛的象徵。」

性藝術家這種物以稀為貴的因素。就美國藝術圈而言，

74 75

頁︶作為草間彌生代

大家經常標舉﹁圓點﹂︵參見第

No.2 一九五九年│油彩、畫布 182.9×274.3cm ─ 草間繪製的網眼主題稱之為「Inﬁni（無限的網 15），未來成為她 ty Net」代表性的主題之一。《No.2》這幅早期作品歸唐納•賈德所有，他是最早發掘草間才能的人。

圖片提供：佳士得 ©Christie’s Images Limited 2011

No.2 1959│Oil on canvas 182.9×274.3cm ─ “Infinity Nets” is the name given to Kusama’s net motif, which became one of the motifs to typify her. No.2, a work of her early period, was owned by Donald Judd, who initially discovered Kusama’s talent.

四

發展行動繪畫

之後，就沒

回顧當年自己的想法也和同時代的年輕人一樣。然而當時實際推動草間從事創作的力量，是一股堅定質樸的信

波洛克 •

有再出現撼動時代的巨大風潮。草間就在這個時候登念，投注一切，僅僅藉由藝術這種手段來證明自己的價

年代傑克遜 ○

場。她以自己原創的風格，反覆堆疊單色細緻的凹凸質

年代開始就持續創作意涵深遠的作品，在美 ○

佳士得日本董事代表會長石橋香苗表示：﹁草間彌生從一九五術史上占有穩固的地位，我認為人們對她的評價今後將會更加堅定。﹂現實狀況彷彿在印證這句話，其他的草

草間彌生總是以前衛的身分持續在世界各地活動。然個時代。或許是她那種永無止盡的挑戰精神贏得藝術

草間標舉網眼和圓點的主題，以孤傲的原創性面對這

間作品也接連在拍賣會上達成百萬美元的高價交易。

而她當初遠渡美國的時候，應該是沒有辦法預想到這幅收藏家們的高度評價，進而導致作品的價值不斷揚升。

︽︵豬飼尚司︶

︾在創作五十年之後竟然可以數億日元賣出。 No.2

灌注靈魂的精緻畫作，售價突破百萬美金

史的力量。

解放的卓越的原創性，讓人預期將會出現某種撼動藝術

值。

感，直到時間和空間不再看得出分別。這種源自於自我

草間曾在作品中寫到﹁自己想要錢，有名也不壞﹂，

78 79

Behind Kusama is not a wall, but a 33-foot-wide work that was exhibited at her solo exhibition “ Recent Painting, Yayoi Kusama,” held at the Stephen Radich Gallery in 1961. It was announced as the largest “Infinity Nets” works yet. 草間背後是一幅作品，不是牆。一九六一年，她於史蒂芬•拉迪奇畫廊 16 舉辦個展「新作繪畫，草間彌生」，發表寬達三十三英呎（大約十米），比過去還要更巨大的「無限的網」。

NO. A 1960│Oil on canvas 132.4×129cm ─ The net is painted with intense density. The work was sold for $1,874,500 by auction at Christie’s in November 2009.

圖片提供：佳士得 ©Christie’s Images Limited 2011

NO. A 一九六○年│油彩、畫布 132.4×129cm ─ 這張網畫得相當濃密。二○○九年在佳士得的拍賣會上以一百八十七萬四千五百美元（約一億六千八百七十萬日圓）結標。

It was November 2008 in New York. Bidding had started at the mighty auction house Christie’s. Lehman Brothers had just collapsed and the attention of not only the art world but the world media was drawn to the auction. The most talked about item on sale was Yayoi Kusama’s oil painting No. 2 painted in 1959 (see p.38-39). The Global Financial Crisis had begun, and bidding prices were generally 15–20 percent lower. Many people were reluctant to even buy works at half their valuation price. However, even in this austere season, No. 2, which went on sale with an expected price of about $2.5 million, ended with a final bidding price of $5,792,000— far exceeding the expectations of the parties involved and setting a record price for a Kusama work. Kusama had painted this work the year after she moved to New York. She had fled depression-filled life in Japan to seek freedom in a different country, only to experience day after day of further suffering. The problems that she was forced to deal with, such as her chronic ailment and her poverty, kept on coming, one after the other. But swapping what money she had for paint and canvas, she worked day in day out applying her brush from predawn, pouring all strength into her creations. Despite not having enough food to eat, she continued well into the nights painting white net onto giant canvas. While “dots” were one form that typified Yayoi Kusama (see p.44), the white “nets” painted in No.2 was one her characteristic expressions, having a negative-positive relationship with dots. Specks of the white net sometimes appeared to leap from the canvas into the room and even to her body. Gripped by panic, Kusuma on more than one occasion had dialed for an ambulance. It was pressure enough to be a single Japanese woman living alone in New York at the end of the fifties. But on top of that, she was battling hallucinations while being uncertain about her future. It defies one’s imagination just what hardship both physically and mentally she had to endure by throwing everything into painting these hallucinations. In October 1959 amid such circumstances, her long-dreamed-of, solo “Yayoi Kusama” exhibition was held at the Brata Gallery, New York. The visitors’ eyes became transfixed on eddies of white net painted on five large canvases that filled the gallery. Drawing acclaim from art critics including Picasso scholar Dore Ashton and Donald Judd, known also as a sculptor, Kusama’s New York debut was a big success—the moment that the world discovered Kusama. Her attraction was not simply the novelty of a female artist who came from Japan. There had not been a big era-shaking movement in the American art scene since the action paintings of Jackson Pollock in the forties. And then Kusama appeared. She created an original form by painting monochromatic, intricate protrusions and recessions repetitively enough to blur the notions of time and space. It was her strong originality born from a liberation of the self that made people suspect something historically tumultuous was about to rock the art world.

「無限的網」系列的特寫。我們會發現堆疊在漆黑畫布上的白色網眼簡直像是織品一般交織連結在一起。從遠處看感覺有點朦朧帶著幻想色彩，近看細緻的筆跡又強調出強烈的物質性。可以感受到作品尺寸越大，就需要耗費更強大的精神和體力來完成。

Close-up of one of the “Infinity Nets” series. The white meshes painted over black canvas are linked together, intertwining like knitting. From a distance, the image appears dreamlike and illusory, while close up, the intricate brushstrokes and a strong materiality are emphasized. One concludes the bigger the size of the work, the more intense the strength and energy that is required to product the work.

Soulful, intricate paintings sell for six-figure prices Yayoi Kusama has since toured countries worldwide continuously being avant-garde. But she would not have had much inkling at that time, having just crossed over to America,

that No.2, fifty years after creation, would fetch a price of several millions of dollars. In her own writings, she reflects that she “wanted money, and though having fame wasn’t bad” just like other young people of the same generation. But in reality, back then, what drove her was a direct and powerful conviction to throw everything into the work and assert the existence of self only through art. Kanae Ishibashi, the president of Christie’s Japan, comments, “Yayoi Kusama continued to create highly significant works from the fifties and has been an important figure in art history. Her status will only grow in prominence in the future.” As if to support this claim, other Kusama works have steadily popped up at auctions and fetched six-figure prices. Pursuing a theme of nets and dots with solid originality, Kusama boldly greets the period. It is perhaps her limitless spirit of challenge that has brought high appraisal from collectors, which has resulted in a constant climbing of her works’ valuation prices

紐約時代，坐在軟雕塑上的草間彌生。在她身後我們可以看到「蛋箱」（Egg Carton）系列的作品。

Kusama during the New York period seated on soft-sculpture with one of the “ Egg Carton ” series behind her.

No. B,3 一九六二年│蛋箱、畫布 198.1×177.8cm ─ 草間待在紐約的時候沒有錢，曾經跑去垃圾場撿裝蛋的紙箱貼在畫布上面創作作品。《No.B,3》是名為「蛋箱」系列的其中一件，二○○五年佳士得拍賣會以一百一十九萬兩千美元（約一億兩千六百萬日圓）售出。

圖片提供：佳士得 ©Christie’s Images Limited 2011

No. B,3 1962│Egg cartons on canvas 198.1×177.8cm ─ During the New York period, Kusama, with no money, fetched egg cartons from a trash dump and stuck them to canvass. No. B,3, one of the “ Egg Carton ” series, was sold for $1,192,000 by auction at Christie’s in 2005.

揭開﹁圓點﹂當中蘊含的意義。水玉に込められた意味を、解き明かす。 18.2×24cm│作者自藏

點被當成是相當具代表性的可愛元素，然而在草間彌生的作品當中，它卻顯現出一種征服觀眾的強烈存在感。對於草間彌生來說，圓點不單只是一種創作主題。在她十歲畫的母親肖像當中，就已經畫出無數的圓點。為什麼草間會拘泥圓點到這個地步，長年不停畫它呢？她小時候就罹患強迫症，遭受幻覺所苦。堇花會突然露出人類的臉孔，對她說話，狗也用人類的語言對她嚷嚷，接下來是物質的形狀解體化成圓點擴散到房間、身體和整個宇宙。假使是成人︵更何況又是小孩的話︶，一般來說應該會想要把眼睛和耳朵塞住，然而她在面對這些幻覺的時候，卻是拿起自己的筆將這些景象記錄下來。她以觀察入微的方式對待這些鋪天蓋地的圓點幻覺，挺身對抗自己的疾病。草間自己表示：﹁只有持續創作藝術才能夠讓我從這種病裡面康復。﹂另一方面，草間的家庭環境對於這些圓點誕生也有很深的影響。生於鄉村名門，想法封建的母親看到女兒為了維繫內心平靜沉浸在繪畫當中，給她貼上﹁畫圖的

到永恆時間的無限和空間的絕對當中。﹂我們會發現﹁解體與累積﹂、﹁增殖與分裂﹂、﹁粒子的消解與無形宇宙傳來的聲響﹂這些後來草間藝術的基本概念，從她小時候就已經開始發展。頁︶

網眼。我有一個心願，希望自己能夠從自己的位置發表

的創作感言當中曾經這樣表示：

在這樣的背景之下，少女可能會覺得自己遭受到否定

預言、度量宇宙的無限。宇宙的奧秘究竟有多深？無限

沒出息﹂的標籤，不替她買顏料，有時候甚至還撕破她

吧。她或許是想要利用圖畫裡面所有的物質都可以被

在宇宙的盡頭是否還是無限？我察覺到這件事，想要觀

﹁這些一點一點的色點是聚集的量子，是黑白反相的

看作是圓點粒子的方式，將自己連同焦慮的情緒全部抹

點。﹁管你是畢卡索還是馬諦斯，放馬過來吧！我要

如實描繪眼前出現的那些在極小與極大之間變化的圓

不知何時少女時代的恐懼變成一種原創性，讓她得以

中的一點。﹂

察自己生命這一個點。我的命也是一個點，是億萬粒子

草間說明自己藝術創作的時候經常使用﹁自我消融﹂

這個詞。物質所散發出來的能量會無限擴張到整體的景色，自己也會化作許許多多的圓點融化在裡面。草間說：﹁這樣一來，自我和所有的物質都會回歸復元，回

用這個圓點來迎戰。﹂

快感，成為草間作品的骨幹。︵豬飼尚司︶

就這樣，她的圓點顯現出生命中一切的喜悅、傷痛與

作品的骨幹顯現出，生命的喜悅、傷痛與快感

消，讓幼小的自我從各式各樣的束縛裡面解放出來。

的作品丟掉。父親則是不顧家庭一天到晚在外冶遊。

她在紐約第一次個展發表﹁無限的網﹂︵參見第

═

Self Obliteration 1967│ Ink on black & white photograph 18.2×24cm│ Collection of the artist ─ From 1 9 6 7 to 6 8, Kusama not only produced 2-dimensional pieces with the title of “ Self Obliteration, ” she also experimented with various other works using polka dots including happenings and films.

原始攝影：Harrie Verstappen

Finding meaning encapsulated in dots.

自我消融一九六七年│墨水、黑白相片

﹁圓點﹂，這可以說是草間彌生的代名詞。一般而言圓

─ 草間在一九六七年到六八年之間以《自我消融》為題，運用圓點創作平面、乍現 17 以及錄像等等多樣化的作品。 19

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無限的鏡之屋─陽具的原野一九六五年 ─ 攝於紐約卡斯帖蘭尼畫廊 21 舉辦的「樓層展」（Floor Show）。綴滿紅色圓點的陽具（Phallus）在鋪設鏡面的牆壁和天花板當中折射出無限延伸的景象。

Inﬁnity Mirror Room — Phalli’s Field 1965 ─ At the “Floor Show” exhibition held at the Castellane Gallery, New York, the image of phalli (penises) clad in red dots continuing endlessly was reflected in the mirroraffixed walls and ceilings.

“Polka dots” and are practically synonymous with Yayoi Kusama. Typically, they form a motif representing loveliness, but in Kusama’s work, polka dots express an intense presence that overwhelms the viewer. For Yayoi Kusama, dots are not a simple motif. Even in a portrait of her mother painted when aged 10, she painted countless dots. Why is Kusama so fascinated with dots, and why does she continue to paint them? Suffering obsessive-compulsive disorder as a young child, Kusama had hallucinations— violets with human faces that suddenly started talking, dogs barking human words, and the shapes of objects breaking up into dots that filled the room, her body and the entire universe. Ordinarily people—especially young children—would want to block such experiences from their eyes and ears, but Kusama responded by recording the images from these hallucinations with her pen or brush. By attentively observing the hallucination of dots that cover things to the finest detail, she was standing up to her illness. Kusama says, “It was only by continuing to create art that I could recover from that illness.” Kusama’s family environment had a marked influence on the occurrence of polka dots. While her daughter was immersed in painting pictures to preserve mental tranquility, Kusama’s mother, born into rural high society and still held to feudalistic thinking, labeled painters as scamps. She refused to give Kusama paints and, on occasion, tore up paintings and threw them away. Kusama’s father, who led a dissipated life, was often away. It would be easy for a girl living in such an environment to feel her existence negated. In her paintings, by perceiving all physical matter as dot particles, it is like she is seeking to erase her own existence, and all the accompanying anxieties, and liberate her body from the various imprisoning structures that had bound her childhood self. A master of work that expresses all joy, sorrow and pleasure in life When Kusama explains her own art, she frequently uses the term “self obliteration.” The aura emitted from things spreads throughout the overall scene to infinity. She herself becomes many polka dots and gets obliterated. Kusama says, “When this happens, inside the infinity of eternal time and the absolute of space, oneself and all matter is returned and recovered.” The fundamental concepts of Kusama’s later works, “disorganization and accumulation,” “proliferation and separation” “sense of particle obliteration and resonance from the invisible universe” clearly started from her childhood. Kusama stated this in her comments regarding the “Infinity Nets” series (see p.40) that was announced in her first solo exhibition in New York. “For me, through the accumulation of the net’s individual meshes whose negatives are made from every single dot, the infinity of the endless universe was prophesized from my own position and there was a desire to measure it. How infinite is it beyond the universe? What depths of mystery lie there? Through the perception of this, I want to see my life, which is but one dot. The dot—or rather, the single particle out of a million—is my life.” Over time, the fear from when she was a girl became her originality of vividly depicting the dots that appear before her eyes moving to and fro between the micro and the macro. “Be it Picasso or Matisse, I’m ready for anything, I will stand up to them with only polka dots.” She says. In this way, her dots—representing the joy, sorrow and pleasure of life—become the master in Kusama’s work.

I’m Here, but Nothing 二○○九年 ─ 二○○九年COMME des Garçons 在大阪市南船場的新店「Six」開幕，於此舉辦展覽。黑光 22 映照出覆蓋整間房間的圓點。 I’m Here, but Nothing 2009 ─ Photo of the exhibition held in 2009 at COMME des GARÇONS’ new space ‘Six’ that opened in Minami-Senba, Osaka. Black lighting reveals a room engulfed by dots.

圓點強迫─化為圓點的愛二○○七年 ─ 這座裝置在慕尼黑的藝術之家23展出，用圓點圖案的巨大氣球填滿空間。氣球自身在空間當中也是一種圓點。

圖片提供：COMME des Garçons

Dots Obsession —Dots Transformed into Love 2007 ─ Filling the space with giant polka dot balloons, the installation was held at Haus der Kunst, Munich. The balloons were themselves dots in the space.

攝影：Hal Reiff

自我消融＃2 一九六七年│ 水彩、鋼筆、粉彩、相片拼貼、紙

40.4×50.4cm│作者自藏 ─ 一九六七年《馬戲》（Horse Play）這場乍現在馬身上貼白色的圓點貼紙。草間擷取其中的照片來做拼貼，再手繪添加點點，進一步讓圓點增殖。

Natural Obliteration #2 1967│ Oil, pen, pastel and photo collage on paper 40.4×50.4cm│ Collection of the artist ─ Collage of a photo taken from a scene of Horse Play a happening in New York where white polkadot stickers were affixed to a horse. Further proliferation of polka dots is superimposed by painting dots over the top.

透過圓點消融自我一九六八年 ─ 一九六八這一年草間彌生運用圓點舉辦數量多到難以計算的乍現活動。這張乍現的相片是豪爾•利夫（Hal Reiff）拍的，他從一九六六年就開始持續記錄草間彌生。

Self-Obliteration by Dots 1968 ─ In 1968 Kusama conducted countless happenings that used polka dots. This performance photo graph was taken by Hal Reif, who had been photo-graphing Kusama since 1966.

攝影：Rudolph Burckhardt

和強迫觀念相互抗衡的﹁軟雕塑﹂。強迫観念に対峙した、﹁柔らかな彫刻﹂。

Soft sculpture obsession.

後來印製牛頭的

走訪這次展覽大力叫好的安迪

創作世界的核心並沒有改變。她在繪畫方面反覆繪製圓

體、接著跨入空間，拓展自己創作表現的範圍。然而她

年代之後就從平面邁向立 ○

的塑材，然而草間卻硬是製作軟雕塑︵ soft sculpture ︶

就像這樣，草間進入六

綴滿大量陽具的家具和小船引發衝擊

沃荷 •

她一九五九年在紐約召開第一次個展以來，草間繪製的

發表的不是繪畫，而

海報貼滿天花板和牆壁進行展示，以普普藝術的旗手身

六二年，草間在紐約格林畫廊

圓點和網眼繪畫接連獲得更高的評價。然而她的創作表

此外，這件作品對於後來的藝術史造成很大的影響。

Aggregation: 1000 Boat Show 1963 ─ The installation used the entire room. White phallic protrusions were affixed to a real-life boat, and posters of the boat’s photographed image covered the walls and ceiling.

分博得名聲。這表示草間的觀念比這位大師還更超前。

一九六

─ 這件裝置作品運用整間房間來表現，在實物尺寸的小船上綴滿白色陽具型的突起物，再將小船的攝影海報貼上牆壁和天花板。在這張照片當中草間彌生還自己擔任模特兒。

現並不限於畫布，勇敢的她繼續向前追求下一步。

年代初，草間彌生遇到一個巨大的轉機。自 ○

積聚─千舟連翩一九六三年

。而且用大量陽具型的凸起物來覆蓋家具，揭示一種

素材。過去的雕塑都是用石頭、金屬或木頭之類硬質

上具有空前的代表性。一是她用布料製作的填充物來當

是﹁累積﹂系列的雕塑作品。這件立體作品在兩個意義

新的創作方向。她從無限延伸的網眼發展出用無限的突

陽具主題增殖複製的意象。

點和網眼，在立體和空間作品方面就如前所述，展現出

不過，為何是陽具呢？這可以說是草間彌生自我心理

起物在日用品上增殖這種創作手法，表現方式從二次元擴展到三次元。

陽具這性的象徵，透過這樣的行為來療癒自己的心。草

著厭惡和恐懼。為了超越這樣的強迫觀念，她大量製作

─ 障礙的反饋。回顧過去，她從少女時代開始就對性懷抱千舟連翩︾︵ One Thousand Boats Show ︶。展間中央

發表︽積聚

設置一艘綴滿無數陽具突起物的小船，然後用九百九十

間在自傳︽無限的網︾當中曾經這樣談陽具：

史坦畫廊 •

九張這艘船的單色海報覆蓋貼滿牆壁和天花板，創造出

﹁我一天到晚都在製造這些令人生畏的形象，藉此克

次年，草間在紐約葛楚

一種重複的視覺景觀。這是草間彌生第一件裝置作品。

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造型、甚至是可笑的造型，﹂

睡在那些物件當中。結果可怕的造型慢慢變成了古怪的

制我的感情。我做了不知道多少根軟雕塑的陽具，試著

延伸的網。

是創作手法擴張，連發表的空間也變廣。正如一面無盡

從這個時候起，草間就開始密切往返紐約與歐陸。不僅

年代之後發表了許多用陽具主題創作的造 ○ 形作品，就像圓點和網眼那樣，現在成為草間作品代表

草間在六

性的母題。她彷彿像是在實踐反覆與增殖這個關鍵字那

︶上的系列 obsession

作品稱之為﹁執念藝術︵ Obsessional Art ︶﹂。她畏懼

草間將這些建立在強迫觀念︵

的不只是性。在同一本書中，她描述﹁想到今後要永無

︵新川貴詩︶

樣繼續創造新的陽具作品，以此鞏固自己的創作世界。通心粉。 ─

止盡繼續吃那種用機械生產製造的食物，就感覺頭皮發麻﹂，被她唾棄的這種食物就是

這時候，草間就以通心粉為素材創作雕塑作品。一九六四年，她在紐約卡斯帖蘭尼畫廊舉辦個展﹁壓迫︶，﹁性 • 食物 • 與執念﹂ Driving Image Show

︶就此開花結果。 Sex•Food•Obsession Collage of Hal Reiff Photo of Kusama Lying on “Accumulation No. 2” Around 1966│Photo collage Work is lost ─ Kusama first exhibited soft sculpture works in 1 9 6 2. Accumulation No. 2 was one of these works. It is seen as a monumental precursor to later threedimensional works.

意象﹂︵︵

在這次展出當中，她發表用通心粉覆蓋外套、內衣、襯衫、鞋子、還有人體模特兒等等方式做的雕塑作品。而且連展間的地板都緊密鋪蓋通心粉，讓大家見識到一隻全身綴滿通心粉的狗在裡面跑。︽紐約時報︾稱讚這次

─ 草間於一九六二年首次發表軟雕塑作品，《累積No.2》正是其中之一。對於日後的立體作品而言，這可以說是一個里程碑。

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個展說：﹁草間彌生的藝術不可錯過﹂、﹁草間開創了新的領域﹂，後來還巡迴展示到美國各地和歐洲各城市。

拼貼作品── 以豪爾．利夫拍攝草間《累積No.2》臥姿相片製作一九六六年左右│攝影拼貼作品消失

The Impact of Furniture and Boats Affixed with Multitudes of Phalli

攝影：細江英公（Eiko Hose）

The beginning of the sixties was a significant turning point for Yayoi Kusama. Since holding her first solo exhibition in New York in 1959, assessment of the polka dot and net pictures that Kusama painted gradually rose. However, her expression did not stop with canvas. She boldly aimed for the next step. In 1962, the work that Kusama showed at the Green Gallery, New York was not painting but the sculptural “Accumulation” series. This three dimensional work was epoch-making for two reasons. The first was the medium of stuffed cloth objects. Traditional sculpture used stone, metal, wood or other hard materials, but Kusama created soft sculpture. Moreover, she struck out with a new direction of covering furniture with multitudes of phallic shaped protrusions. From the net meshes that expanded infinitely, she arrived at the method of propagating countless protrusions on everyday items. Kusama’s expression developed from the two-dimensional to the three-dimensional. In the following year, Kusama exhibited Aggregation: 1000 Boat Show at the Gallery Gertrude Stein, New York where a boat affixed with numerous phallic protrusions was positioned in the center of the exhibition room, and by fully covering the walls and ceiling with 999 monochrome posters of this boat’s photographed image, she created a vision of repetition. This became Kusama’s first installation work. This work was to leave a significant impact on the art history that followed. Andy Warhol, who had attended and applauded the same exhibition later went on to hold his own exhibition using a method of pasting posters of a cow’s head to cover all the walls and ceiling and win the label as the flag bearer of pop art. In this sense, it was Kusama, who was more pioneering than this art icon.

草間在「食物•執念」（food obsession）系列當中發表過用通心粉牢牢覆蓋整座人體模型的作品。她抱著這「通心粉女孩」，對我們投以挑逗的眼神。

In her “Food Obsession” series, she also created work of mannequins totally covered in macaroni. While hugging Macaroni Girl, Kusama throws a provocative glance.

After beginning the sixties in such a way, Kusama went from the flat plane to the threedimensional and then expanded her breadth of expression to space. However, the core of the world of her artistic creations remained fixed in its focus. In her paintings, she painted the repetition of polka dots and nets, whereas in her threedimensional work and spatial work, she showed the image of the motif of phalli propagating.

梳妝台一九九○年│ 塞滿填充物的縫製布料、梳妝台、椅子、女鞋等、顏料上色梳妝台：185×142×110cm

攝影：上野則宏（Norijiro Ueno）

椅子：94.5×46×56cm│ 財團法人草月會 30 （寄存於東京都當代美術館 31） ─ 這件作品發表於個展「天與地之間」（一九九一年，富士電視台畫廊）。陽具型的凸起物在鏡台和高跟鞋等象徵女性的物件上面增生。

Dressing table 1990│ Stuffed sewn material, dressing table, chair, woman’s shoe, etc., and paint Dresser: 185×142×110cm Chair: 94.5×46×56cm│ Sogetsu-Kai Foundation (De-posited with Museum of Contemporary Art Tokyo) ─ This work, consisting of phallic protrusions propagating from objects of female symbolism such as a dressing table and a high heel, was exhibited at the solo exhibition “Between Heaven and Earth ” (Fuji Television Gallery, 1991).

通心粉外套一九六三年│ 外套、通心粉、衣架、顏料上色

118×80×12cm│ 板橋區立美術館 29 ─ 除了這件外套之外，她還用現成的乾燥通心粉覆蓋襯衫、內衣、行李箱、鞋子等等各式各樣的日用品，創作一系列的作品。 Macaroni Coat 1963│ Coat, macaroni, hangers, coloring 118×80×12cm│ Itabashi Art Museum ─ Kusama produced not just this coat, but a whole series of works where everyday items such as shirts, underwear, suitcases and shoes were covered in readymade dried macaroni.

Solo exhibition held in Jardin de Luseine, Tokyo in 1983. In the center is the stuffed-workglove covered End of Summer (1980). Among the other works shown is Accumulation of Shoes, protrusion-affixed shoes painted silver.

攝影：安齊重男（Shigeo Anzai）

一九八三年，草間於東京的法國餐廳「Jardin de LUSEINE」舉辦個展。空間中央設置了《夏日終結》（一九八○年）這件作品，用塞滿填充物的工作手套覆蓋家具。除此之外，在鞋子上添加突起物彩繪銀色的《鞋子的累積》（Accumulation of Shoes）等等作品也都有參展。

But why the phallus? This is said to be the reversal of a complex. From her childhood, Kusama’s recollections are enveloped in hatred and fear towards sex. To overcome this obsession, she voluminously created sexually symbolic phalli to soothe her own mental scars. In her memoirs Infinity Nets, Kusama says this about the phalli: “By always, always, creating over and over the object of fear, the fear emotion is suppressed. By creating many soft sculpture penises, and then lying in the middle of them, the fearful becomes funny. They transform into humorous objects.” Kusama calls this series of works based on this obsession: “obsessional art.” The object of fear is not sex alone. In her same memoirs, she says, “Continuing to eat such a thing that is being churned out by mechanical production is truly horrifying.” The food she is so horrified with is macaroni. This was where Kusama was coming from when she started creating sculpture using macaroni as a material. Her “sex food obsession” came to fruit in the “Driving Image Show” exhibition held at the Richard Castellane Gallery, New York in 1964. In this exhibition she exhibited sculptures such as coats, underwear, shirts, shoes and mannequins all covered in macaroni. The exhibition room itself was also completely covered in macaroni and above this was a dog, also covered in macaroni, running around the room. This solo exhibition earned her strong praise. The New York Times wrote, “Kusama’s art is essential viewing” and “Kusama has broken new ground.” She then took this exhibition on tour to various cities in the U.S. and Europe. This marked the beginning of Kusama frequently traveling back and forth between New York and Europe. In addition to an expansion in her methods of expression, she also broadened the places where she exhibited, like her infinitely expanding nets. Just as polka dots and nets still remain characterizing motifs of her expression, since the sixties, she continued exhibiting works of art that used phalli. She produced new phallic works as if to practice the keywords of repetition and propagation and solidified her own world.

眾人嘆為觀止的乍現活動。誰もが唸った、ハプニングという行為。

︶ The River

一九六九年 ─ 這場在現代藝術殿堂進行的乍現登上《每日新聞》的版面。畫面上可以看到身穿西裝的保全人員正介入制止。

Happening Grand Orgy to Awaken the Dead at MoMA Held in the fountain of the sculpture garden at MoMA. 1969 ─ News of the happening held at the shrine of modern art adorns the front page of the “ Daily News.” A suit-wearing security man can be seen attempting to put a stop to it.

﹁愛情明明是性的基礎，現在竟然還有人標榜中世紀的倫理道德在那耀武揚威，認為它很骯髒，不該自由享受。﹂﹁人的身體如此美麗，為何要赴死投入戰爭呢？大

草間描述當時受到傳統刻板印象束縛的人們﹁將近窒

家認為戰爭和性解放哪一種比較好？﹂！﹂對 Let’s make love

息﹂，發願普渡眾生。她否定預設男女性別差異的性文

︶以雜交為主題的活 Kusama Orgy

年代後半，包含 ○

族群。她選擇舉辦乍現的場地是紐約證券交易所、聖派

也波及影響藝術圈︶進行反抗運動，逐步擴大她的目標

問題︵賺錢第一的資本主義、以越戰為核心的軍國主義

草間彌生的乍現行動主要集中在六

︶等標題的戶 Body Festival

崔克大教堂︵ Saint Patrick’s Cathedral ︶、還有文章

動，與冠上﹁身體慶典﹂︵

名為﹁草間狂熱﹂︵

外裸體示威兩類。草間在這兩種場合都是以指導者的角

開頭提到的紐約現代美術館等等，這些空間都可以算是

乍現活動會隨不同的空間演出各式各樣的內容，不過

乍現，成為反戰、反體制的象徵 •

色引導人群，內容主要是在全裸的模特兒身上描繪圓點

人體上繪製的圓點和照明交互呼應，創造出一種可以稱︶的神奇 performance installation 乍現﹂性表現相當強烈，不過她灌注在 •

之為是表演裝置︵效果。這些﹁草間

草間

各個領域的權威象徵，這就是證明。

化，以這為基礎進一步推展延伸，針對席捲當年的社會

在場的群眾說明：﹁這是一場藉藝術之名打垮權威的行

全裸出現在現場，走近雕刻突然開始親熱。草間彌生就

MoMA雕刻庭園噴水池的乍現演出

圖案。有時候她也會用明滅的燈光來呈現整個空間，讓

動！﹂

站在旁邊。她反覆在旁嚷嚷：﹁

MoMA招魂大狂歡

活動當中的訊息是﹁愛會長長久久﹂。

Happenings that stirred up reactions from everyone.

馬約爾的︽河︾︵ •

紐約現代美術館以 MoMA 的暱稱名聞遐邇，院子裡常態展示著阿里斯蒂德、畢卡索與亨利

摩爾等大師的雕塑作品。 •

一九六九年八月，有人出現大鬧雕塑庭院。八名男女

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對媒體提供訊息等等。草間確實是故意採取這麼煽情的

草間在活動背後其實做了相當細緻的規畫，譬如事前針透過這樣的行動從根本之處撼動那些束縛我們的制度、

態﹂視為禁忌，她卻用激烈的手法公然進行展示。草間

年代反戰運動孕育出興盛的嬉皮文化，乍現演出 ○

每年得以像是這樣舉辦好幾十場，無疑和這背景有很大

六

風俗、文化、政治等體制，以及男女性別的差異。

頁︶，引爆很大的迴響。的關係。對於部分的人來說，甚至將草間看作是﹁嬉皮女王﹂。

來實在是﹁離經叛道﹂。然而觀眾和媒體漸漸受她行動吸

她運用性感帶有攻擊性的乍現活動，在一般人眼裡看

身面對折磨自己的一切，我們應該將她所有的行動以及

只是一種暫時跟隨潮流的行為。草間彌生以﹁藝術﹂挺

獲得反體制的人以及小眾族群很大的支持。然而乍現不

時尚﹂品牌自己進行設 •

引，狀況感覺有點像草間將圓點和網眼畫出畫布，延伸她的存在本身，都看作是一場乍現。︵豬飼尚司︶

大部分參加活動的模特兒確實都是嬉皮，這樣的活動

覆蓋到自己的身體﹁消融自我﹂那樣。一般人將﹁性的常

計製作，更加擴大這股風潮。

選模特兒參與，也建立﹁草間

她積極創業，成立製作公司，同時規畫乍現活動並甄

版報導︵參見第

術館的那場乍現就獲得美國重要小報︽每日新聞︾的全

藝術表現以求登上媒體頭版。本文開頭提及紐約現代美

Photo taken during a naked happening held at Andy Warhol’s studio in 1968. Warhol and Kusama were roughly contemporaries and competed for models to participate in happenings. However, there was quite a difference between the respective artist’s activities. 1968 was Kusama’s most prolific year for happenings.

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這張照片攝於一九六八年安迪．沃荷工作室舉辦的裸體乍現。沃荷和草間年代相仿，會彼此競邀模特兒參加乍現。然而兩人的活動內容相當不同。一九六八年是草間舉辦最多乍現的一年。

The sculpture garden of the Museum of Modern Art, or MoMA as it is popularly called, has become a permanent home for Aristide Maillol’s The River and other sculptures by great artists such as Picasso and Henry Moore. In August 1969, the sculpture garden was shockingly disrupted. Eight naked men and women suddenly appeared, leaning up against sculptures in an entanglement of bodies. Standing alongside was Yayoi Kusama. While repeatedly shouting “Let’s make love!” she explained to the people present, “This is action to upset authority under the guise of art.” Mostly taking place in the second half of the sixties, the happenings that Yayoi Kusama conducted were basically divided into two kinds: activities based on sex and a sex orgy theme that was called “Kusama orgy,” and outdoor nude demonstrations that were given titles such as “Body Festival.” In both situations, Kusama directed people in a role of instructor. The painting of polka dot patterns on full nude bodies was the subject. Sometimes, in what could have been called performance installation, intermittent lighting was added to project a mysterious atmosphere whereby the lighting and the polka dots painted on bodies interplayed in concert with each other. These “Kusama Happenings” had a strong sexual expression, but the message that she embedded was “Love Forever.” “Despite there being love at the root of sex, there is a dominance of medieval morals that says sex is dirty and not something to be freely enjoyed.” “Why are people sent to war to die when their bodies are so beautiful? Which do you think is better: war or free sex?” At the time, she said the people stifled by such established notions were “close to suffocation,” and she was wishing they would be rescued. Perceiving the denouncement of sexual culture and the gender gap to be at the heart of that generation’s social problems,

反戰在布魯克林大橋舉行裸體乍現並且燒毀美國國旗一九六八年 ─ 為了發表反戰的訴求，成員舉行乍現活動大量燃燒美國國旗。同年他們在聯合國大樓前也舉辦過一次。

Anti-War Naked happening on Brooklyn Bridge with burning of American flag 1968 ─ The happening was held as an anti-war protest. The members burned large quantities of American flags. The same action was performed in front of the United Nations building.

105

尼克森狂歡草間工作室舉辦的自我消融乍現一九六八年 ─ 這場雜交乍現目的在於表達終結越戰的心願。草間針對參選總統的理查•尼克森 36 提出「恢復法律與秩序」的訴求。

Nixon Orgy Self obliteration happening at Kusama Studio 1968 ─ Sex orgy happening calling for the end of the Vietnam War. It included a message to Richard Nixon who was seeking presiden tial election on the ticket of “restoring law and order.”

104

節慶的愛中央公園舉辦的乍現一九六八年 ─ 草間帶著大量的模特兒們昂首闊步走進中央公園。卸下身上的斗篷之後，就像左圖相片這樣，連自己身上都貼滿圓點貼紙。有時候舉辦乍現會和警察產生衝突甚至遭到逮捕。

Love in Festival Happening in Central Park 1968 ─ Yayoi Kusama is leisurely striding through Central Park with her large entourage of models. Removing her cloak, she reveals the polka dot stickers pasted on her body. Occasionally happenings led to a clash with police and arrests. 攝影：Akira Sakaguchi

攝影：Akira Sakaguchi

Kusama expanded the target of her activities to action that protested against such problems (capitalism that places priority on making money, which permeates even the art world, and militarism centered on the Vietnam War). This was evident in her choice of locations for the happenings— she chose places that were the symbol of authority for various sectors of society such as the New York Stock Exchange, St Patrick’s Cathedral, and, as mentioned before, MoMA. Kusama’s happenings became a symbol for anti-war and other protest movements Although the content of a happening varied depending on the location, on Kusama’s side, there was intricate planning behind the scene, such as distributing information to the press beforehand. Presumably, this was Kusama’s clever ploy to have her sensational art expression surely printed as a top page article. The aforementioned happening at MoMA attracted a huge response from its coverage on the front page of major U.S. tabloid “Daily News” (see page 64). In other ways as well, this ground swell continued to build owing to Kusama’s positively entrepreneurial activities. A production company planned the happenings and cast the participating models, and she launched the “Kusama Fashion” brand, which she designed and created herself. The general population must have perceived her sexually shocking style of happenings as “insane.” However, the state of audience and media increasingly becoming fixated on her activities resembles the “self obliteration” sensation of the polka dots and nets, which Kusama painted, jumping out from the canvas and spreading as far as one’s own body. By using a bold method to brazenly reveal a “sexual existence” regarded as taboo by the general public, Kusama shakes the very foundation of our concepts of ordinary morals—the institution and customs to which we are held captive, our cultural and political structures, the differences between masculinity and femininity, and so on. Undoubtedly, the prosperity of hippy culture born from the anti-war movement of the sixties would have had some link with the fact that the happenings were held numerously each year. Some even looked up to her as the “Hippy Queen.” Indeed, many of the participating models were hippies, and she received immense support from the anti-establishment and minority scenes. However the happenings were not merely temporary activities swimming with the tide. Standing up to all that tortures her through art, Yayoi Kusama’s activities in their entirety, and her very being, can be considered as a happening.

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攝影：Bob Sabin

解剖性爆破中央公園內愛麗絲銅像前的乍現一九六八年 ─ 這場乍現以「當代的愛麗絲夢遊仙境」為發想概念，進行小旅行走到中央公園。提倡大家一同「參加生命探險之舞」。

Anatomic Explosion Happening in front of Alice in Wonderland Statue in Central Park 1968 ─ Based on a concept of “Alice in Modern Day Wonderland ” and calling for people to “join in the dance of life’s adventures,” the happening took a small trip around Central Park.

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沒有比﹁鏡面﹂更棒的媒材。この上なく素晴らしい、鏡という素材。

As a material, there is nothing more wonderful as the “mirror”.

草間彌生從平面、立體、一直到空間作品都一貫表現

那就是鏡子。從紐約時代 ─

出反覆增殖的意象。為了確實展現自己的世界觀，草間彌生引進一種完美的素材到今天，鏡子一直都是她反覆應用的材料之一。一九六六年她在紐約卡斯帖蘭尼畫廊舉辦個展﹁草間

︶︶，這次展覽發表的︽愛 Endless Love Show

彌生的窺探秀﹂︵ Kusama's Peep Show ︶︵別名﹁永恆的愛﹂︵會長長久久︾︵愛はとこしえ︶是她早期開始運用鏡子的作品範例之一。這件裝置作品是一個六角型的房間，內側全部敷滿鏡面。天花板裝設無數的小燈泡，以激烈的速度在音樂聲中不停交相閃爍。此外，房間設計成讓觀眾可以從牆上的小窗觀看內部，就如個展名稱所示，是個讓人﹁偷窺﹂的空間。燈泡有紅、白、黃、藍、綠共五種顏色。這些顏色彼此進行豐富的排列組合，每個瞬間都會創造完全不同的圖案。加上整座房間室內都是鏡子，透過鏡面相對反射，明滅的光看起來連綿不絕無限擴散出去。光點延伸放射，直到無垠的鏡面深處。草間彌生在自傳︽無限的

鏡面和水面，增幅幻想的風景

草間接下來開始處理結合鏡面和表演元素的作品。一九六六年﹁第三十三屆威尼斯雙年展﹂發表的︽自戀庭園︾︵ナルシスの庭︶就是其中之一。該展是每兩年舉

﹁就創作媒材而言，沒有比這更棒的材料。它可以映照

雜關係的視覺裝置。本書進行採訪的時候，她還表示：

的巧手安排，就變成展現生與死、現實與虛構等等複

不用說，鏡子是隨處可見的日常用品。不過經過草間

交的狀態，現在終於用這個裝置把那種感覺重現出來。﹂

﹁以前我自己親身經歷過那種靈魂出竅徘徊在生死之

網︾曾經這樣回顧這件作品：

大約兩美元極其低廉的價格向觀眾兜售，想要將觀眾帶

很有力，不過草間做的不僅於此。她進行表演，以一顆

讓觀眾也成為作品的一部分。單是做到這個地步就已經

風景。鏡球上同時映照出草間本身還有觀眾們的身影，

久久︾這件作品增生光線，那麼︽自戀庭園︾就是複製

面映照出藍天、白雲以及樹木等等。如果說︽愛會長長

銀色的球，決定以游擊的方式參展。這些鏡面的球體表

園︵

辦一次的大規模藝術慶典。草間在大會會場卡斯帖羅公

我的形象，讓我和另外一個自己相遇。﹂草間後來繼續

入情境當中，進而大力批判當年商業主義橫行的藝術市

﹁橫濱三年展二

一﹂她推出︽攬鏡自照之海︾，在 ○○

進入二十一世紀之後，她也繼續運用鏡球創作。

︶草坪上鋪滿大約一千五百個 Giardini di Castello

發展，總是組合複數的鏡子來創作作品。她將﹁眼前的

場。

─ 這張是草間母親的肖像。舒緩俯視的表情讓那些遍布畫面的怪異圓點更顯得怵目驚心。背面則畫著花、花瓶、網眼與圓點。

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事物﹂進行多重角度的投射，進而呈現出﹁前所未見的

Untitled 1939│Pencil on paper 24.8×22.5cm ─ This is said to be a portrait of Kusama’s mother. The tranquil expression with the eyes cast down make the heterogeneous dots spreading across the paper appear more hurting. On the back of this drawing are flowers, a vase, nets and dots.

世界﹂。要將草間彌生的世界觀具象化，鏡子是非常重

24.8×22.5cm

要的一種媒材。

無題一九三九年│鉛筆、紙

海面上設置兩千顆漂浮鏡球做裝置，使得高樓大廈環伺

的港灣景象煥然一新。草間當時將球扔入海中還進行表

演，又讓這場現代藝術的慶典錦上添花。另一方面，草

間也繼續嘗試結合鏡子與光線的創作手法。譬如︽水上

的螢火︾這件裝置是從天花板垂下許許多多的燈泡，利

用包覆壁面的鏡子和地上的水面增生光線。觀眾周遊於

架設在水面上的走道，沉浸到讓人屏息的想像世界。此

外，過去使用電力的作品都是事先設定讓燈光閃爍，然

而這件作品卻是讓光線在水面盪漾。這表示每一個瞬間

景象都完全不同。而且這件作品不是﹁偷窺﹂，而是讓觀

An installation of about 2,0 0 0 mirror balls floating in the sea alongside Kisha-Michi Promenade. The appearance fluctuated with the waves and at nighttime, the surrounding glittering illumination was reflected.a vase, nets and dots.

眾可以用全身來體驗光。

─

即使同樣採用鏡面這個媒材，草間的作品依舊持續在

Narcissus Sea Installation at the “Yokohama Triennale 2001” 2001│Stainless mirror balls Dia. 30cm

進化。反覆增殖的景象永遠沒有盡頭。︵新川貴詩︶

攬鏡自照之海「橫濱三年展二○○一」設置的裝置二○○一年│不銹鋼製鏡球 Φ30cm ─ 這件裝置作品在鄰近車道的海邊安置大約兩千顆飄浮在海上的鏡球。裝置上的圖案隨波盪漾，夜晚降臨的時候還會映照出周遭閃耀的霓虹燈。

自戀庭園一九六六年 ─ 草間彌生在第三十三屆威尼斯雙年展義大利館前面運用一千五百顆銀色的鏡球展出這件作品。她自己穿上金色的振袖和服 39 進行表演，以一顆球兩美元的低價將球賣給觀眾。

Narcissus Garden 1966 ─ Exhibited in front of the Italian Pavilion at the 33rd Venice Biennale, the work used about 1,500 silver mirror balls. Wearing a golden kimono with long trailing sleeves, Kusama conducted a performance of selling individual balls to visitors at a paltry sum of about $2 each.

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What Yayoi Kusama had been uniformly expressing in the two-dimensional, the threedimensional, and then, the spatial were repeating and propagating visions. Then, to more accurately realize this world view of hers, she adopted the perfect material—mirrors. From the time of her New York resident period through until the present, mirrors have become one of the integral materials that she has used repeatedly. One example of her early period works in which she had begun to employ mirrors is “Love Forever,” which was exhibited in her solo exhibition “Kusama’s Peepshow” (otherwise known as “Endless Love Show”) at the Richard Castellane Gallery, New York in 1966. It was an installation consisting of a hexagonal room with mirrors affixed to every inner surface and numerous small lights installed on the ceiling. The lights continually and repetitively flashed fiercely while music played. True to the exhibition’s “peep show” title, the space was designed with tiny windows for gallery visitors to peep in and appreciate the view inside. The five colors of red, white, yellow, blue and green shone in diverse combinations causing an unfolding of different images, moment upon moment. Adding to this, the mirroring of all surfaces—floor, walls and ceiling—caused endless-mirror effects whereby the blinking of light spread out to infinity. Into the far reaches of the mirrors, the light trailed endlessly to the beyond. Reflecting on her work at this time, Kusama wrote in her Infinity Nets memoirs, “I materialized a mental state of rapture that I experienced in the past where my soul was hypnotically drawn to the line between life and death along which I wandered.” It goes without saying; the mirror is an everyday item that can be found just about anywhere. But in the hands of Kusama, it transforms into a device for showing visions intertwining life with death, and reality with concoction. In the interview for this book, Kusama goes as far as saying, “As a material, there is nothing more wonderful. I can reflect my figure and encounter one more me.” Moreover, Kusama always used a combination of multiple mirrors in her work. Through multifaceted projections of “objects before one’s eyes,” “things never before seen” appear. The mirror is one of the important materials for achieving concrete realization of Kusama’s world view.

天國之梯二○○○年左右│ 鏡面、金屬、光纖導光管 Φ216×405cm│作者自藏 ─ 利用天花板和地板的鏡子讓梯子看起來彷彿無限延伸。梯子採用發光管線製作，會變幻出各式各樣的顏色。作品發表於「新加坡雙年展」（二 ○○六年）。

Ladder to Heaven Around 2000│Mirror, steel, and fiber lighting tubes Dia. 216×405cm │ Collection of the Artist ─ Using mirrors on the ceiling and floor, the work appears to be a ladder stretching infinitely. The ladder is made of illuminating tubes, which change color. The work was shown at the Singapore Biennale 2006.

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無限之魂二○○九年│複合媒材

80.5×80.5×180.5cm│作者自藏 ─ 草間運用鏡面製作的最新作品。尺寸大小不一的銀球像是漂浮在宇宙當中那樣交錯排列，箱子內外都敷設鏡面，映照出周遭展示的繪畫作品。

Infinity Soul 2009│Mixed media 80.5×80.5×180.5cm│ Collection of the artist ─ The most recent work of Kusama’s that incorporates mirrors. The different sized balls are propagated as if they are dancing in space. The outer walls are also mirrored and reflect the paintings exhibited around the work.

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Fantastic scenes amplified by mirrors and water Continuing on from this, Kusama turned her hand to work that incorporated mirrors together with performance elements. One work typifying this style was “Narcissus Garden” that was exhibited at the 33rd Venice Biennale held in 1966. The Venice Biennale is a grand-scale art festival held once every two years. In Castello Park, the main venue, Kusama covered the lawn with about 1,500 silver balls as an impromptu “guerilla exhibit.” The blue sky, white clouds and green trees were projected on the mirrored surface of the balls. Whereas in “Love Forever,” light was propagated, in this work, the scenery was visible as repetitive images. Also reflected in the balls was not only Kusama’s figure, but also the figures of the viewers, so that the observers were also part of the art. Although that alone suffices as the magnum opus, there is more to be told regarding the exhibit. Kusama executed a performance of selling each of these mirror balls for the very cheap price of about $2 each. By doing so, she involved the visitors in a criticism of the rampant commercialization of the art world at that time. Then, upon crossing into the new century, Kusama again exhibited a work employing mirror balls. At the “Yokohama Triennale 2001” she exhibited an installation of about 2,000 mirror balls floating in the sea, this time called “Narcissus Sea.” It completely changed the scenery of the harbor, which is surrounded by high-rise buildings. This time also, Kusama conducted a performance, which involved throwing the balls into the sea. Meanwhile, Kusama also continues her expression of combining light and mirrors. For example, “Fireflies on the Water,” was an installation in which the light from the many light bulbs hanging from the ceiling propagated in the surrounding mirrored walls and water surface. The viewers walked around a path suspended over the water, allowing them to be immersed in a breathtaking fantastic world. Whereas earlier works incorporating light bulbs were set up to emit flashing light, in this work, the light flickered in the water. Through this effect, the scene, changing moment by moment, was never the same. In addition, rather than “peeping,” viewers were able to shower their entire bodies in the light. In this way, although they incorporated the same material of mirrors, these works have endlessly evolved. The visions of repetition are absolutely inexhaustible. 水上的螢火二○○○年│鏡面、燈泡、水等等

442.4×442.4×320cm│ 靜岡縣立美術館 ─ 這件裝置作品利用敷設在天花板和牆面的鏡子以及地表水面交相反射一百五十顆燈泡的光。觀眾可以全身投入這明滅晃盪的光。

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Fireflies on the Water 2000│ Mirror, lamps, water etc. 442.4×442.4×320cm│ Shizuoka Prefectural Museum of Art ─ Installation where the illuminating light of 150 lamps reflects in the mirrors attached to the ceiling and walls and the floor’s water surface. You can experience your entire body being showered in the dazzling light.

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擴展到大型空間和戶外的立體藝術。大空間や野外へ広がる、次元のアート。

舉例來說，紐約個展展出的︽生命︾這件作品。幾十支

自傳裡面的話，就是﹁從畫家蛻變成一個環境雕塑家﹂。

作品，進而發展到動用周遭整體空間來表現。假使引用

入到三次元的世界，並促使她運用軟雕塑嘗試創作立體

她驚人的創作能量輕輕鬆鬆就跨越二次元的平面繪畫進

畫到太投入，畫到超出畫面延伸擴散到桌子和地板上。

草間彌生手持畫筆在畫布上描繪網眼的時候，經常會

的能量其實正是﹁生命力﹂本身，人們絡繹不絕受其吸

平凡無奇的日常環境瞬間變幻成為異世界。這股爆炸性

瓜為首，超現實的魅力相當動人。強烈的存在感可以將

戶外作品始自一九九四年，以香川縣直島棧橋設置的南

這類的環境雕塑不僅限於室內，還延伸到戶外。這些

在追尋什麼，以細胞的尺度觸動觀眾，激發本能的感動。

胞一樣。它們聚集成為一個個生命，蜿蜒扭曲彷彿像是

之力。星羅棋布的圓點布滿整個物件，一顆一顆像是細

Three-dimensional art spreading to large spaces and the outside.

物件並置在一起看起來彷彿像是從地板歪歪扭扭生長出

引。︵高瀨由紀子︶

Life 1998 ─ A scene from the solo exhibition “ Yayoi Kusama Now ” held at the Robert Miller Gallery. The seemingly alive polka-dot objects number 58 in total.

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─ 個展「草間彌生在當代」一景，攝於紐約羅伯特•米勒畫廊 40。綴滿班點的物件各個形狀都不一樣，看起來栩栩如生，總共有五十八座。

來，那種視覺衝擊將理性思考一掃而空，完全不費吹灰

生命一九九八年

午夜盛開的花二○○九年 ─ 這些巨大花朵核心生著獨眼，看起來彷彿像是在動一樣強而有力，大型作品甚至高達五公尺。相片攝於比佛利山莊加戈西安畫廊 41 個展。

Flowers that Bloom at Midnight 2009 ─ With the largest approaching five meters, these one-eyed giant flowers have a powerful impact, looking like they are about to move at any moment. The photo is a scene from a solo exhibition held at the Beverly Hills Gagosian Gallery.

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點點執念日二○○九年 ─ 斑點圖案從幾顆氣球、地板延伸到天花板遍布整個房間，感覺自己彷彿也成為其中一顆點點。攝於紐西蘭個展「草間彌生：鏡映年華」（Yoyoi Kusama: Mirrored Years）。

DOTS OBSESSION-DAY 2009 ─ In a room completely polka dot, from the numerous balloons to the floor and ceiling, your own mood also becomes a single polka dot. Exhibited at the solo exhibition “Yayoi Kusama: Mirrored Years” in New Zealand.

Pointed at the canvas painting nets, Yayoi Kusama’s brush, with the artist completely lost in her work, often would veer off away from the picture to spread over the table and floor. Her formidable creative power, which easily shifted away from the two-dimensional to the threedimensional, later prompted her to turn her hand to solid objects, as in her soft sculpture work, and then drove her evolution into art that employed the entire surrounding space. To borrow Kusama’s words from her memoirs, “I broke out of the mold of an artist to become an environmental sculptor.” A good example is Life, a work at a solo exhibition held in New York. The impact of the juxtaposition of dozens of objects seemingly sprouting from the floor easily blew reason from the mind. The countless polka dots covering these objects are like lots of individual cells. Collectively, they form single living bodies, and their bending and twisting appearance, as if seeking something essential, engages the viewer at a truly cellular level, evoking instinctive feelings. This type of environmental sculptures was not constrained to indoors; it also sprung forth into the outdoors as well. Including with the pumpkin object that was installed in 1994 on the jetty of Naoshima Island, Kagawa Prefecture, the surreal charm of the environmental sculpture is stunning. Kusama has a powerful presence that transforms the ordinary everyday scene into a different spatial dimension in a blink of the eye. The outpouring of her energy draws people in and is an unstoppable “life force” in itself.

壓迫意象一九五九∼一九六四年 ─ 這件裝置作品是草間立體作品的原點，由敷設通心粉的地板和網眼圖案的模特兒所構成。個展在德國舉辦，以先前紐約展示的作品為主再添加新作。

Driving Image Show 1959-1964 ─ The installation consisting of a macaroni-covered floor and mannequins covered in net patterns was the starting point for Kusama’s three-dimensional work. This solo exhibition held in Germany included additional works to the exhibition held previously in New York.

南瓜二○○七年 ─ 巨大的南瓜盤踞在醫院上。醫生是草間彌生的愛好者，這件作品是他的個人收藏。這顆坐落於「外旭川衛星診所」的南瓜是當地知名景點，吸引許多人們前來參觀。

Pumpkin 2007 ─ Giant pumpkin installed upon a hospital. The pumpkin is privately owned by a doctor, who is a big Kusama fan. Seated upon the Sotoasahikawa Satellite Clinic, the pumpkin has become a local landmark that attracts a constant stream of observers.

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追尋少女失落的幸福。かなわなかった、少女の幸せを求めて。

人聯想到少女和狗狗快樂地在玩遊戲，畫作︽愛會長長

裝置作品︽嗨，你好！︾︵ハーイ、コンニチワ！︶讓

是自己想要畫畫卻被母親禁止，如此種種都讓少女時期

實現。﹂雙親失和、生病引發幻覺，然而最痛苦的衝突

出自己追求幸福的心願，這些在我的成長階段沒有辦法

Yearning for a young girl’s happiness that eluded her.

久久︾則呈現許許多多可愛的少女，這些作品帶給我們的草間彌生過得相當痛苦。這些少女的形象顯現出她對

LOVE FOREVER (TAOW) 2004│Pen on canvas 130.3×162cm│ Collection of the Artist ─ The canvas is filled with the depiction of lovely girls in a very free and easy style of pigtails and various patterned skirts. There are also girls with dogs and cats.

截然不同的印象，不像草間彌生過去那些充滿執念的作

─ 畫面四處畫著各式各樣的少女，她們綁著辮子、穿著各式各樣的裙子，造型流行又可愛。有些人身邊還帶著狗或是貓。

那些失落幸福的渴望。

130.3×162cm│作者自藏

品。草間描述︽嗨，你好！︾的時候說：﹁我想要試著畫

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愛會長長久久（TAOW）二○○四年│筆、畫布

︽嗨，你好！︾裡面登場的少女其中之一名叫﹁小彌

說，草間是交由觀眾自己去感受和解讀。

年代就已經做過名為︽愛會長長 ○

生﹂。假使她是草間的分身，長年孤軍奮鬥，那麼其他

然而草間彌生似乎不認為這些作品和過去的創作有什

麼不同。她在一九六

頁︶，認為︽嗨，你好！︾

久久︾的燈飾裝置︵參見第

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的少女和狗狗應該是為了要讓她休息放鬆所以才會出現

─ 這件裝置呈現五位少女和三隻狗在草原上玩耍。草間表示這些少女不知今後的青春與死亡。

是這件作品的延伸。她認為自己的圓點從早期一直到現

二○○四年│複合媒材尺寸可變

Hi, Konnichiwa(Hello)! Installation at the “Kusamatrix” exhibition 2004│Mixed media Variable size ─ Installation depicting five girls and three dogs playing around in a meadow. Kusama says these girls know nothing of adolescence and death.

在她身邊吧。︵青野尚子︶

Kusamatrix」展的裝置

在﹁包含了快樂與悲傷等等一切的情感﹂。不是說某件

嗨，你好！

作品圓點代表恐懼，另一件作品圓點代表喜悅，相對來

The installation Hi, Konnichiwa(Hello)! which brings to mind a scene of girls and dogs joyfully playing, and the adorable girls expressed in the drawing Love Forever create impressions that are different to Kusama’s former works that had obsessional tones. Writing about Hi, Konnichiwa(Hello)! Kusama says, “I depicted a wish for happiness that was not there when I was growing up.” Her parents’ marital discord, the hallucinations caused by illness, and above all, the conflict with her mother when she was banned from the pictures she wanted to create made Kusama’s childhood a struggle. The image of girls was permeated with a longing for a happiness that she never had. However, Kusama does not acknowledge that these works are different to the works she created up until then. For her, Hi, Konnichiwa(Hello)! is an extension of the decorative illumination sculpture also called Love Forever (see page 73) that she created in the sixties. She says that the polka dots she has expressed from that early period up until the present are “packed with everything, including both joy and sorrow.” It is not that the polka dots express fear in some works and joy in other works; rather, Kusama leaves that feeling and interpretation up to the observer. One of the girls that appeared in Hi, Konnichiwa(Hello)! was a girl called “Yayoi.” If this is Kusama’s alter ego, then the other girls and dogs probably exist to bring peace of mind and respite to Kusama who has continued to battle alone.

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松本時期全心畫畫，才能萌芽。ひたすら描いた松本時代、才能が萌芽。

The Matsumoto period of fervent painting— a genius bourgeons.

十歲的草間彌生自己搭配花束在照相館拍照。草間老家從事育苗的行業，所以花草自然而然從小時候開始就

四方博士診斷她的症狀是精神分裂和雙極性情感疾患

時候，她的才華馬上就受到很高的評價，主治醫師西丸

自己說話，為幻視和幻聽所苦。一九五二年舉辦個展的

草間從小就會看到物體周邊在發光，或者聽到堇花對

病帶來的幻覺。

畫素描。她在沒有任何人指導之下，就開始記錄那些疾

種場的田野中描繪植物。草間特別之處在於她不單只是

Kusama at aged 10 taken at a photo studio. The composition of her with flowers was at her own direction. Because the family operated a nursery wholesale business, flowers and nature have been important motifs for Kusama since she was a child.

的情緒起伏混合在一起，是一種﹁分裂情感性障礙﹂。根據她的自傳描述，她記錄這些幻覺的筆記寫了好幾冊。﹁我就是以這樣的方式，讓當下感受到的驚嚇和恐懼漸漸沉澱。這些經歷可以說是我畫畫的原點。﹂

浪蕩成性的父親和性情暴躁的母親關係相當惡劣，經

草間指出在成長過程當中家庭環境對於自己的影響。

這是一九五二年報紙上刊登的相片。我們可以發現她常讓她感到難過。瞧不起畫家的母親更是頑固禁止她畫

種簾幕包圍，感覺人和環境都距離越來越遠變得很不真

在嘗試各式各樣的技巧與主題。五年後，草間在前往美

草間彌生生於長野縣松本市，老家是育苗業的老字

實，罹患人格解體障礙。︽殘骸的累積︾︵隔離布幕的囚

圖。對於只能藉由畫畫尋求心情平靜的少女來說，每一

號。她是一個非常喜歡畫畫的女孩子，經常跑到附近採

火山爆發一樣源源不絕。﹂沒有拜特定的老師這件事情

國之前下定決心未來要創造更棒的作品，在河邊燒掉許

犯︶就是以這現象作為題材的畫作。皺皺的帳幕掩蓋視

也很特別。雖然她在京都市立美術工藝學校

天都相當難熬。由於現實實在太過於痛苦，草間遭到一

線，她將這個場景捕捉下來顯現出一種虛無的氣氛，作

畫，可是無法忍受那種因循苟且的生存方式。一九四八

學習日本

畫功力相當驚人。

許多多的畫。

是她重要的創作主題。

草間彌生回憶自己青春時期﹁頑強地畫了好多好多的

而背景卻是會激發幻覺的扭曲網格圖案。她在迎接二十

年的作品︽洋蔥︾是用日本畫的技巧精雕細琢而成，然

活。﹂她凝視生命，以及神秘，把自己湧現的幻視當成

要悄悄躲進橫越在神秘與象徵中間的世界，在那裡生

出現蛀孔，正顯示出桃子的生命。我想要揭露神秘。想

表過這樣的主張：﹁隱藏本身等同於彰顯一切，桃子上

召喚，立志前往美國。在前往美國的前兩年，她曾經發

草間想要離開保守的日本自由創作，受到這樣的想法

運用自己的幻視飛翔，追尋﹁草間的風格﹂

的創作風格站起來。

歲之前，就知道自己不能夠依靠任何形式，必須用自己

畫，一張一張層層疊疊堆到天花板，腦中的靈感像活

是翅膀，振翼起飛。正因為她經歷過這些孤獨的掙扎，

─ 這張是草間母親的肖像。舒緩俯視的表情讓那些遍布畫面的怪異圓點更顯得怵目驚心。背面則畫著花、花瓶、網眼與圓點。

﹁草間風格﹂才得以萌芽茁壯。

24.8×22.5cm

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十歲的草間彌生自己搭配花束在照相館拍照。草間老家從事育苗的行業，所以花草自然而然從小時候開始就是她重要的創作主題。無題一九三九年│鉛筆、紙

This photo appeared in a newspaper in 1952. One can see that she was trying different techniques and motifs. Five years later before leaving to the U.S., with a resolution to make better works in the future, she burnt many works on a riverbank. 這是一九五二年報紙上刊登的相片。我們可以發現她在嘗試各式各樣的技巧與主題。五年後，草間在前往美國之前下定決心未來要創造更棒的作品，在河邊燒掉許許多多的畫。

she felt like a curtain had engulfed her and lost a sense of reality, feeling isolation from people and the scenes of life. This phenomenon is the theme of the painting Accumulation of the Corpses (Prisoner Surrounded by the Curtain of Depersonalization). One is awestruck by her power of artistic technique, tinted with even nihilism, in capturing the state of one’s field of vision being deprived by a twisting curtain. Of her adolescence, Kusama relates, “I drew and drew amazing numbers of pictures. There were so many, they kept piling up stacking on top of each other to the ceiling. The images in my head were spewing out like an active volcano.” That she had no particular teacher was also a distinctive point. She studied Japanese Art at what is now known as the Kyoto City Dohda Senior High School of Arts but was nonplussed by its conservative ways. In 1948, she created Onion, which she depicted in a detailed and accurate way using Japanese painting techniques, but with the background filled with a distorted, hallucinatory checker pattern. Before she was even 20 years old, she knew that she must not rely on any style but establish her unique art. Flying upon the wings of her own visions in pursuit of the Kusama style Filled with a wish to depart conservative Japan to freely create art, Kusama set her mind on the American art world. Two years prior to traveling to the U.S., she announced the following affirmation, “I want to depict mysteries such as by hiding things to reveal everything or by expressing a grub’s life with a tiny hole that it left on the surface of a peach. I want to embed myself in a world spanning the space between mystery and symbolism.” Focusing on life and mystery, and using her visions as her wings, she sought to fly. Via such solitary struggles a “Kusama Style” burgeoned.

白晝的磷光一九五○年左右│墨水、粉彩、紙

25.2×17.5cm│作者自藏 ─ 起伏的網格圖案是「無限的網」系列的先驅。這張畫分別運用了不同的技法來構成，包含粗獷的黑色線條以及粉彩暈散的光等等。

Phosphorescence of the Day Around 1950│ Ink, pastel on paper 25.2×17.5cm│ Collection of the artist ─ The seemingly undulating lattice pattern is perhaps a precursor to the “Infinity Nets” series. The image is formed by a superb mix of different drawing techniques, such as the rough black painted lines and the blurry light of the pastels.

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Born in an old-established family who operated a nursery wholesaling business in Matsumoto City, Nagano Prefecture, Kusama was a girl who loved to draw and paint pictures. She often went to the field for seed production close by and drew plants. Kusama’s specialty was that she didn’t simply end with sketching. Although no one taught her to do so, she began to put to paper her illness-caused hallucinations. Since her infant years, Kusama suffered visual and auditory hallucinations such as seeing auras around objects and experiencing violets talking to her. Dr. Shiho Nishimaru, who was quick to recognize her genius at her solo exhibition held in 1952 and who later became her primary physician, diagnosed Kusama with an atypical psychosis that was a mix of schizoid personality with manic depressive mood swings. In her memoirs, she tells of filling many note books with descriptions of these hallucinations. “The shock and fear I felt at the time was soothed by doing so—this is the point of origin of my pictures.” Kusama also talks of the impact that her domestic environment had on her growth process. Kusama was heartbroken by the strained relationship between her father, who frequently succumbed to night pleasures, and her fierce-tempered mother. Her mother, moreover, contemptuous of artists, stubbornly banned her from pictures. This made the days difficult to bear for the girl who could only find solace in painting and drawing. The pain of her reality was so much, it caused her to suffer depersonalization disorder, where

洋蔥一九四八年│岩彩 44、紙

35.9×59cm│作者自藏 ─ 京都市立美術工藝學校時期的畢業作。草間相當自信的說：「它是全部裡面最顯眼最出色的。」直到父親過世之前，這張畫都掛在父親房裡。

Onion 1948│ Mineral pigments on paper 35.9×59cm│ Collection of the artist ─ Graduation work from when Kusama was at the school now known as Kyoto City Dohda Senior High School of Arts. Kusama wrote with confidence about the work, particularly “the way the onions shine pain”

殘骸的累積（隔離布幕的囚犯）一九五○年│ 油彩、琺瑯、麻布（種子麻袋）

殘夢一九四九年│岩彩、紙

72.3×91.5cm│

─ 草間使用日本畫技巧繪製的最大型作品。乾枯向日葵齒牙般的花萼還有扭曲的莖幹顯現出頑強的生命。飛舞的綠色蝴蝶彷彿是在安撫向日葵的靈魂。

東京國立現代美術館 45 ─ 沒有人幫她買畫材，草間自己拿種子的麻袋當成畫布來畫。「我把一切可以當畫布的東西都偷過來，這個秘密讓我非常開心。」

Accumulation of the Corpses (Prisoner Surrounded by the Curtain of Depersonalization) 1950│ enamel varnish on hemp cloth (seed sack) 72.3×91.5cm│ The National Museum of Modern Art, Tokyo ─ Unable to get anyone to buy her painting equipment, she made this canvas from a seed sack. “I Snatched anything that could possibly be used for canvases. I relished in this secret of mine.”

136.5×151.7cm│作者自藏

Lingering Dream 1949│ Mineral pigments on paper 136.5×151.7cm│ Collection of the artist ─ This is the largest work painted using Japanese painting technique. The teeth-like calyx and twisted stalk of the withered sunflowers depict tenacious will for life. The green butterflies almost appear to be soothing the sunflowers’ souls.

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﹁草間時裝﹂推展到全美各地。全米で展開された、クサマ・ファッション。

A fashion show held at Kusama Studio in 1968. Body painting was staged with Kusama herself painting polka dots on the models.

Above: Silver dress, fashioned to resemble a squid, left the breasts and bottom half of the body exposed. Bottom: In the design drawing of 1968, the inclusion of a handbag suggests it was imagined as a garment to wear in public.

︶。翌年在紐約開設精品店。雖然 Kusama Fashion

多商店販售。她在各地舉辦的時裝走秀引來許多大眾媒

百貨公司也設立了﹁草間專櫃﹂，進一步推展到全美許

買。上流階級雲集的紐約布魯明黛︵ Bloomingdale's ︶

這些激進又創新的服裝不單只有部分的藝術人士在

膽。

許多陽具裝飾，服裝概念和草間的藝術品一致，相當大

會在乳房或是私處這些原本應該遮掩的地方開洞，縫上

說是販售，可是並不是那種平凡安全的款式。譬如說她

︵

與販售。一九六八年，草間成立成衣公司﹁草間時裝﹂

手法，有一個階段她甚至還經營過禮服和織品的製作

對於草間彌生來說，時尚和藝術一樣，都是一種表現

自己設計的。

質、瞬間引人注目的服裝現身。這些衣服全部都是草間

也是很重要的理由。她總是身穿全紅的禮服或是發光材

奇才散發的氣息當然是原因之一，不過她獨特的造型

草間彌生個展上最吸引人注目的來賓就是草間本身。

右：以魷魚作為概念發想露出胸部與下半身的銀色禮服。左：一九六八年的設計草圖中還畫了包包，似乎設定為外出服。

體，更讓草間的創作世界廣獲宣傳。︵新川貴詩︶

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“Kusama Fashion” spreads across the U.S..

設於一九六八年草間工作室舉辦的時尚秀。身體彩繪也搬上舞台，由草間自己在模特兒身上描繪圓點。

At the openings of her solo exhibitions, the most eye-catching attendee was Yayoi Kusama herself. While that was partly because of her aura as a genius, another big reason was her unique fashion. This is because she appeared in clothes—all designed by Kusama herself—that stood out from everyone else’s such as a bright red dress or clothing with glittery material. Fashion for Kusama was another method of expression just like art. There was even a period where she created dresses and textiles herself and sold them. In 1968, Kusama established an apparel company called Kusama Fashion. Then, in the following year, she opened a fashion boutique in New York. Although for sale, the products were not runof-the-mill fashion. They shared the same boldness as her art work: some had open holes in the regions that clothes are meant to cover up, such as the breasts and the genitals, and some had a multitude of phallic objects sewn on to them. Yet, it was not only some art people who bought these extremist and unconventional garments. A “Kusama corner” was set up at Bloomingdales New York Store, which attracted high society customers, and garments were sold at many stores across the U.S. At fashion shows held in various locations, the press swarmed to her work, and the world of Kusama’s creative work gradually became much talked about.

草間表示「身體很美」，製作完全不遮掩下半身的開放禮服。衣服妝點上斑點與網眼的圖案。

Holding to the maxim “the body — because it ’ s beautiful, ” Kusama created liberating dresses that didn ’ t cover the wearer ’ s bottom half at all. The dresses were adorned with polka-dot and net patterns.

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一九六八年，這場在紐約某間大樓屋頂上進行的時尚秀大膽展示出草間彌生的世界，除了在模特兒身上進行身體彩繪之外，還讓圓點在地面上奔放增生。

At a fashion show held on a building rooftop in 1968 in New York, Kusama ’ s world was in bold full bloom, with the carefree pro-pagation of polka dots on not only the models, but also all over the ground.

一九六八年，草間工作室「無限鏡屋」舉辦時尚秀與乍現演出。我們可以看到現場手持相機的媒體陣仗。

Fashion show and happening held at Kusama Studio’s “Infinity Mirror Room ” in 1968. The press with cameras are reflected in the background.

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不停增生的鮮豔版畫世界。色鮮やかに増殖を続ける、版画の世界。

這樣的過程，就可以創造出無限相同的作品，對更多人

版畫是一種疊合複數版面製作出來的作品，反覆重複

爽的海底世界，和原色鮮豔的作品味道又不一樣，讓人

畫面顯得更加鮮豔。﹃海馬﹄珊瑚紅和薰衣草紫展現出清

中，除了綠色和紅色的基調之外，搭配那一點點黃色讓

The world of printmaking: endless propagation of vivid imagery.

傳遞訊息 ─ ﹁我想要透過版畫的世界，把溫暖的風暴吹進你的

感覺很溫和。

間彌生藝術的基礎，對她來說，這可以算是激發她無盡心。﹂草間彌生在版畫集卷首寫下這句話，真誠地讓人

因為版畫具備這樣的特性，﹁反覆﹂和﹁累積﹂又是草

創作本能的表現方法之一。小小畫面開展出來的世界是感動。︵高瀨由紀子︶

Lemon Squash 1984│Silkscreen 53×45.5cm ─ Kusama created many prints using the lemon squash motif, but this work in particular gives a colorful impression through the use of seven colors.

如此濃密，似乎會把人吸進去。

─ 草間製作過許多張以檸檬汁為主題的版畫，不過這幅使用七種顏色的作品特別讓人感覺五彩繽紛。

大部分作品的背景都布滿細緻的網眼。畫面的主題經常也是由密集的網和圓點來構成。不過主題本身大多是具象的事物，種類相當豐富。從南瓜、高跟鞋這類熟悉的物件，到蛋糕、洋裝、富士山、菸灰缸等等。這些作品當中完全沒有那種執念性的焦慮，反而是讓人感受到 53×45.5cm

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草間對於物件本身的興趣與無限的愛，這點相當有趣。色彩搭配的美感也很特別。譬如︽檸檬汁︾這幅畫當

檸檬汁一九八四年│絹版印刷

自畫像一九八六年│絹版印刷

53.5×46cm ─ 這張覆滿圓點的自畫像配上鮮豔有如洪水一般的色彩，帶給我們的感覺不是自我消融，而是心情舒爽的自我展現。

紅色富士一九八二年│石版印刷，拼貼

15.5×22.5cm ─ 流行感十足的富士山看來像是繪本裡面的風景。火紅的雲朵，道路旁零星兀立的房屋，散發出一股淡淡的詩意。

Red Fuji 1982│Lithograph, collage 15.5×22.5cm ─ A pop-art style red Mt. Fuji that would not look out of place in a picture book. A dreamy poetic sensibility hangs over the red-colored clouds and houses scattered along the road.

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Self Portrait 1986│Silkscreen 53.5×46cm ─ Rather than expressing self obliteration, this self portrait covered in polka dots seems to radiantly express an emphasis of self though the flood of vivid colors.

A single work is created by overlaying multiple plates. The act of repeating this process allows the same work to be generated endlessly and these prints can be delivered to many people. Possessing such characteristics, printmaking is for Kusama, whose own art is rooted in “repetition” and “accumulation,” one method of expression that whets an insatiable appetite to create work. Inside a small picture, the world that opens up is so dense; it is as though it is sucking you in. The backgrounds of many of her works are compactly filled with intricate meshes of nets. The main motifs of the pictures are often comprised of the accumulation of nets and polka dots. But the motif itself is often something concrete, and she actually created a rich variety of motifs. They range from the familiar pumpkin and high heel to cakes, dresses, Mt. Fuji, and ashtrays. Here, the obsessional anxiety is absent; rather, one will find it amusing to see the interest and infinite affection that one feels Kusama has towards the object of her work. Her beautiful use of color is also exceptional. In Lemon Squash, while red and green are the key tones, a brilliance of yellow is effectively achieved by its sparing use. Seahorse, with coral pink and lavender colors depicting a refreshing seascape, gives a delicate impression that is slightly different to a work of vivid primary colors. “Through the world of printmaking, I want to imbue a storm of warm emotion into you.” These words of Kusama’s written for the preface to a collection of prints are genuinely touching.

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鞋一九八四年│絹版印刷

45.5×53cm ─ 這件作品讓人聯想到日本人耳熟能詳的童謠《紅鞋子》46，八○年代之後，高跟鞋經常出現在草間彌生的作品中，是她相當喜歡的主題之一。

Lingering Dream 1984│Silkscreen 45.5×53cm ─ Having emotional attachment to the Japanese nursery rhyme Akai Kutsu (lit. Red Shoes), Kusama has frequently employed the high heel shoes as a favorite motif since the eighties.

海馬一九八九年│絹版印刷

53×45.2cm ─ 草間彌生的作品總是讓人想到鮮豔的原色，然而選用清爽色調的作品又有不同的新鮮感。背景的網眼看起來彷彿像是海中的碎波或氣泡。

Seahorse 1989│Silkscreen 53×45.2cm ─ While Kusama’ s works have a strong image of vivid primary colors, the fresh appeal of this work is its use of cool colors. The net meshes look like the ripples and the foam of the sea.

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愛人之死於拼貼中若隱若現。コラージュに見え隠れる、愛する人の死。

Dead loved ones appearing in and out of the shadows of collages.

她和這位討厭和人相

處的怪人經歷了一段激烈到荒謬、又純潔到難以忘懷

不掛，彼此描繪對方的身體

圖畫紙原本的顏色，從全部抹黑的背景邊緣殘留部分露

人。

的交流，在草間彌生的自傳當中，這段故事真的特別動

這是草間彌生一九七

使追溯這些作品出現的背景，不禁讓人想到生命中那些

些作品完全相反，陰暗的幻想世界支配了整個畫面。假

然而，相對於母親極力反對草間彌生當畫家，父親喜

生關係，讓草間對性感到恐懼，心底留下深深的陰影。

父親嘉門。她小時候親眼目擊窮極放蕩的父親和小妾發

對草間彌生人生造成重大影響的另外一位男子，是她

重要人物的死亡，對她多多少少有所影響。

歡畫畫完全不會對她生氣，還會買很好的畫材給她。

彌漫著深不可測的黑暗與淡淡的淨化，應該是她深切面

世，她在這段期間製作了許多拼貼作品。這些作品當中

就這樣，生命中重要的人們接二連三在七

不知是多麼複雜。

﹁我打從心底尊敬他，也很感謝他對我的種種關心。

科奈爾。他 •

一九七四年父親過世的時候，草間長年愛恨交織的心情

草間彌生在自傳當中如此回顧喬瑟夫

在手工製作的盒子裡面進行拼貼創作，將貝殼、石頭、星座、玻璃等等各式各樣的物件貼進去，打造出一個獨特的抒情世界。

一九七二年科奈爾就離開了這個世間。草間彌生忘記約

羈絆就沒辦法用情人或好友這些尋常的字眼形容，然而

的物體。她用相片這種具體的材料，反而創造出一種神

的主題是鳥兒躺在地上的屍骸，以及飄在空中彷若靈魂

︽如今你走了︾這件作品展現她對父親的心意，畫面

對生死之後所留下來的成果。

會，科奈爾靜靜等她等了好幾個小時，抑或是兩人一絲

打從他們倆一九六二年在紐約相遇開始，他們之間的

年代過 ○

他是全美國最偉大的天才藝術家。﹂

間彌生，大家都會聯想到大量原色鮮豔的作品，可是這

年代創作的拼貼作品。聽到草 ○

出妖豔的光，主題赫然神秘凸顯出來。

黑暗中，樹木、鳥類、昆蟲的相片不經意閃現。彩色

In 1962, the following day after the two met, Cornell formed a crush on his “beautiful Japanese girl,” sending Kusama his own poems to the point of filling up the letter box. 一九六二年，兩人相遇隔天，科奈爾寄了自己寫的詩給「漂亮的日本女孩」，數量多到足以塞滿郵筒。相當溺愛草間彌生。

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“I have feelings of deep-felt respect and appreciation for the frequent attention he gave to me. He was the greatest artist in America.” The person that Kusama is reminiscing about in her memoirs is Joseph Cornell. He was an artist who constructed unique lyrical worlds by pasting inside handmade wooden boxes collages of various objects such as shells, stones, constellations, and glass. From the time they met in New York in 1962, the two formed a special bond that cannot be described using such ordinary terms as lovers or close friends. Cornell passed away in 1972. He once continually waited for Kusama for many hours after she had forgotten an arrangement to meet. Another time they drew each other in the nude. The chapter in her memoirs about this almost comically epic but heartrendingly pure liaison with Cornell, who had such an odd personality and disliked people, is very moving. Another man who had a big impact on Kusama’s life was her father Kamon. Witnessing what her father, who ran the whole gamut of dissipation, and his mistress got up to in her childhood, Kusama was left with a deep psychological scar that manifested as sexual phobia. Nevertheless, in contrast with her mother, who was fiercely opposed to her becoming an artist, her father Kamon, who liked drawing and painting himself, was never angry and would buy her quality art materials. When her father died in 1974, one could only wonder how deeply Kusama, with such mixed emotions of love and hatred, would have felt. During the seventies, experiencing the consecutive loss of these two important people, Kusama created many collage works. The mood of fathomless blackness and the delicate catharsis in these works was almost undoubtedly generated as a result of her close encounters with life and death. The motif of Now You’re Dead, which is an expression of her feelings towards her father, is the sprawled carcass of a bird and a soul-like object floating in the sky. The use of concrete materials such as photos further enhances the air of mysterious depth. For the viewers, these works could be like a mirror that reflects their own views on life and death.

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祕悠遠的氣氛。這些作品說不定就像是鏡子那樣，可以

Pasting and overlaying of photos form a world of life and death

反映出觀眾各自的生死觀。︵高瀨由紀子︶

Photos of trees, birds and insects lightly float above the darkness, a plastered black background whose unpainted areas emit an eerie glow due to the base color of the colored paper used. The motifs float so mysteriously that the viewer cannot help but gasp. These are the collage works that Yayoi Kusama turned to in the seventies. Entirely in contrast to the works of vivid primary colors that come to mind upon mention of Kusama’s art, these pictures are dominated by a dark illusory world. Looking at the background influences of these works, the effect of the deaths of people dear to her is thought to have had a strong influence.

回家的靈魂一九七五年│ 拼貼、粉彩、水彩、墨水、紙

53.5×38cm│世田谷美術館 49 ─ 這幅拼貼作品將冬季的黃昏與鳥的相片組合在一起，召喚出寂寞、平靜、永恆與瞬間等等各式各樣的想像。

Spirits Coming Home to Roost 1975│ Collage, pastel, watercolor, ink on paper 53.5×38cm│ Setagaya Art Museum ─ Collage of photos including a wintry evening landscape and various birds. The work evokes various images such as desolateness, a sense of relief, eternity and a moment.

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戰爭一九七七年│ 拼貼、水彩、粉彩、紙

回家的靈魂一九七五年│ 拼貼、粉彩、水彩、墨水、紙

97.5×75.5cm│東京都當代美術館

53.5×38cm│世田谷美術館 49

─ 在一團所有東西都擠在一起的區塊當中，我們可以瞥見人們的臉孔和時鐘。背景那片徹底塗黑的幽暗深不見底。

─ 這幅拼貼作品將冬季的黃昏與鳥的相片組合在一起，召喚出寂寞、平靜、永恆與瞬間等等各式各樣的想像。

War 1977│ Collage, watercolor, and ink on paper 97.5×78.5cm│ Museum of Contemporary Art, Tokyo ─ In amongst a lump of seemingly everything squashed together you can glimpse peoples’ faces and clocks. The darkness of the painted black background has limitless depth.

Spirits Coming Back to Its Home 1975│ Collage, pastel, watercolor, ink on paper 53.5×38cm│ Setagaya Art Museum ─ Collage of photos including a wintry evening landscape and various birds. The work evokes various images such as desolateness, a sense of relief, eternity and a moment.

149

148

草間彌生的作品不單單出現在美術館和戶外展示空

分贏得全世界關注之後終於發表小說，不過這背後到底

然而眾所皆知，她選擇了藝術而非文學。以藝術家身

舉世無雙的創造力在文學領域也開創佳績。文学にも花開く、比類なき創造の力。

間，就算你待在自己的書房裡面，也有辦法接觸到她寬

是怎麼一回事？她在︽克里斯多夫男娼窟︾的後記中曾

Literature also proves fertile ground for her unparalleled creative power.

廣的世界。之所以這麼說，是因為草間彌生除了造型作

經這樣描述：

﹁我想要開拓自己的領域，照亮我在造型美術當中沒

有辦法開發的另外一面。﹂

這表示用書寫的濃密手法表現她在繪畫或雕刻方面無

法呈現的草間世界，就是她的文學。譬如說，︽克里斯

多夫男娼窟︾就描繪了幻覺與現實混雜的世界。︽堇花妄

想︾︵すみれ強迫︶則是以少女為主角，她畏懼歇斯底里

品之外也從事文學創作，發表過許多詩與小說。

一九七八年草間彌生以︽曼哈頓自殺未遂慣行犯︾︵マ

ンハッタン自殺未遂常習犯︶這本小說跨入文壇。接

著，第二本︽克里斯多夫男娼窟︾︵クリストファー男娼

窟︶獲得第十屆野性時代新人文學獎。

當時評審委員包含中上健次、三田誠廣、高橋

和村上龍，這些名氣響亮的審查

的母親，和堇花對話，還可以和宇宙溝通。其他許多小

三千綱、宮本輝

委員全體都不吝給予好評。尤其中上健次更是表示：

說當中也經常出現遭到社會迫害、受男人蹂躪的女性。

就像這樣，雖然藝術與文學領域不同，兩個創作世界

﹁她是實力堅強遠遠超越新人獎框架的女性大家，即使

單就文學領域而言，這件事情也是一目了然。﹂

在根本上還是重疊的。

不過，論斷草間是把自己的真實經驗小說化這種說法

五

生的才華並非突然在文學領域覺醒。她從二十歲左右就

太過草率。小說終究是一種虛構，草間對於別人評論自

幾歲拿新人獎讓人有種晚熟的感覺，不過草間彌 ○

開始寫小說和詩，當時甚至還困惑於將來要當小說家還

己的作品是自傳性的小說也很無言。不過那些以一九六

年代美國為背景書寫的作品生動地將當時的藝術風潮 ○

是藝術家。此外，她小學的時候就曾經在地方上的徵文

比賽得獎，童年時期就已經初備文采。

151

和氣氛串連起來，有些部分可以當成時代的描繪記錄來

It may appear that she was a late bloomer to receive an award for new writers in her mid fifties, but it is not that Kusama suddenly opened her eyes to literature at that point in time. She started writing novels and poems when she was about 20, and at that time she was actually unsure whether to become a novelist or a visual artist. She was naturally endowed with literary talent as a young child and received a prize in a local essay writing competition at elementary school level. Nevertheless, she of course did choose the path of fine arts over literature. So what background influence was behind her finally producing a novel after attracting worldwide acclaim as an artist? In the afterword of The Hustlers Grotto of Christopher St., Kusama wrote the following. “I want to break ground in a sphere of self that shines light on a different plane of my existence that I have not been able to explore in my art.” In other words, literature allows her to use writing as a device to powerfully express aspects of her world view that cannot be cannot be expressed by paintings and sculptures. For example, in The Hustlers Grotto of Christopher St., she depicts a world that is a mixture of hallucination and reality, and in Violet Obsession, the heroine is a girl who is afraid of her hysterical mother, has conversations with violets and is able to communicate with the universe. In many of her other novels as well, a female character often appears who is persecuted by the world and devastated by men. Although the spheres of art and literature are different, the far depths of these worlds of artistic creation interlock. It would be too hasty a conclusion, however, to think Kusama has turned her actual experiences into novel form. The novels at heart are fiction. Kusama becomes nonplussed at the mention that her works are autobiographical novels. In her series of works that are set in the U.S. in the sixties, the movements and moods of that era are elaborately bound together and while some parts can be read as a document recounting that era, the contents stunningly overwhelm the reader.

閱讀。只要讀者打開書本，就會被那股震撼力征服。︵新

Literature as a device for shedding light on a different plane

川貴詩︶

The places where one can encounter the work of Yayoi Kusama are not limited to art museums or open-air exhibitions. For example, reaching for the bookcase at home could be another way of getting in touch with her profound world. In addition to the visual arts, Kusama has also turned her hand to the literary arts and, to date, she has published quite a number of novels and poetry collections. In 1978, she debuted with the novel Manhattan Suicide Addict. Then, with her next work, The Hustlers Grotto of Christopher St., she received the Tenth Literary Award for New Writers from Yasei Jidai magazine. In the screening for the competition, she had received collective high praise from the judging committee members, including Kenji Nakagami, Masahiro Mita, Michitsuna Takahashi, Teru Miyamoto and Ryu Murakami. Notably, Nakagami provided this lavishing praise. “It is plainly obvious she is a prominent female artist looming large in even the literary domain well beyond the echelon of an award for a newcomer.”

150

1. 聖馬克斯教會大火│一九八五年│PARCO出版 56│草間彌生的最愛，瘋

草間出色地描繪出一個麻藥與男色交織的世界，

Sento marukusu kyokai enjo (The Burning of St. Mark’s Church) │ 1985 │ PARCO Shuppan, Tokyo (In Japanese) │ Kusama’s favorite book. A mix of sex, death and hallucinations. ─────────────────── 2. 無限的網│二○○二年│作品社 57│草間第一本自傳，內容波濤洶湧，回顧童年時期以及美國駐留時期的逸事。 Mugen no ami (Infinity Nets) │ 2002 │ Sakuhinsha, Tokyo (In Japanese) │ Turmoil-filled first memoirs containing anecdotes of childhood years and her period in the U.S. ─────────────────── 3. 中央公園的毛地黃│一九九一年│而立書房 58│這本傑作描寫一位日本女性藝術家單身遠赴紐約，並住進精神病院。 Sentoraru paku no jigitarisu (Digitalis at Central Park)│1991│ Jiritsu Shobo, Tokyo (In Japanese) │ Superb writing depicting a Japanese woman artist crossing to the U.S. alone and entering a mental institution. ─────────────────── 4. 哀愁至此│一九八九年│而立書房│ 第一本詩集。集結大約七十首草間歷年累積的詩作，並收錄珍貴的相片。 Kakunaru urei (Distress Like This) │1989│Jiritsu Shobo, Tokyo (In Japanese)│Collection of poems written by Kusama. Her first collection of about 70 poems. Includes rare photo images. ─────────────────── 5. 紐約 ’69│一九九九年│作品社│這本書回憶乍現女王當年進行活動的場景，整座城市在越戰反戰運動和藥物當中震盪。 Nyuyouku ’69 (New York ’69)│ 1999 │ Sakuhinsha, Tokyo (In Japanese)│Retrospection of the Queen of Happenings active in a city rocked by anti-Vietnam-war protests and drugs.

│ 1

153

榮獲第十屆野性時代新

人文學獎。

Kuristofa danshokutsu (The Hustlers Grotto of Christopher St.)│1984│Kadokawa Shoten, Tokyo (In Japanese)│Republished 1989 │ Jiritsu Shobo │ Masterpiece depicting a world filled with drugs and gay sex. Won Tenth Literary Award for New Writers, Yasei Jidai magazine. ─────────────────── 7. 殉情櫻塚│一九八九年│而立書房│ 這部投入大量心血的長篇鉅作，以真實又詩意的方式描寫戰後日本的暗角以及少女內心的陰影。 Shinju sakuragazuka (Double Suicide at Sakuragazuka)│1989│ Jiritsu Shobo, Tokyo (In Japanese) │ A long-labored epic novel written in a realistic and lyrical tone about the murky side of postwar Japan and the darkness of a young girl’s heart. ─────────────────── 8. 鱈魚角的天使們│一九九○年│而立書房│這個尖銳的故事描寫一個俊美的男畫家色誘權貴，並呈現賄賂橫行的腐敗藝術界。 Keepukoddo no tenshitachi (Angels in Cape Cod)│1990│Jiritsu Shobo, Tokyo (In Japanese) │ Fiercely poignant tale of an artist using sexual charm on influential people in art scene corrupted by bribery. ─────────────────── 9. 紐約故事│一九九三年│而立書房│ 收錄描寫愛滋患者的〈紐約愛滋〉和〈下城區〉兩篇故事。 Nyuyouku monogatari (The New York Story) │ 1993 │ Jiritsu Shobo, Tokyo (In Japanese)│A gathering of stories of “New York AIDS,” depicting AIDS sufferers and “Down town”. ─────────────────── 10. 曼哈頓自殺未遂慣行犯│一九七八年│工作舍 59│這本書以口語體的文章為主軸描寫歡樂的日子，並穿插自己寫的詩。 Manhattan jisatsu misui joshu-han (Manhattan Suicide Addict)│ 1 9 7 8 │ Kousakusha, Tokyo (In Japanese) │ A work centrally written in colloquial language writing of pleasurable days mixed with inclusions of her poems.

│ │ 2

11. Violet Obsession│一九九八年│Wandering Mind Books, California│選錄《哀愁至此》英文版。 Violet Obsession│1998│Wandering Mind Books, California (In English)│Selected poems from “Distress Like This.”

6. 克里斯多夫男娼窟│一九八四年│角川書店│一九八九年再版│而立書房│

狂的性愛、死亡與幻覺栩栩如生交織在一起。

│ 4

│ 5

│ 6

─────────────────── 12. MANHATTAN SUICIDE ADDICT│二○○五年│Les presses du reel, Dijion│《曼哈頓自殺未遂慣行犯》法文版 Manhattan Suicide Addict│2005│Les Presses de Reel, Dijion (In French)│French edition of Manhattan Suicide Addict. ─────────────────── 13. Hustlers Grotto│一九九八年│Wandering Mind Books, California│ 《克里斯多夫男娼窟》英文版 Hustlers Grotto │ 1 9 9 8 │ Wandering Mind Books, California (In English)│English edition of “The Hustlers Grotto of Christopher

St.” ─────────────────── 14. 克里斯多夫男娼窟│一九九九年│皇冠出版社，台北│《克里斯多夫男娼窟》中文版 The Hustlers Grotto of Christopher St. │ 1 9 9 9 │ Crown Publishing Company Ltd., Taipei (In Chinese)│Chinese edition of “The Hustlers Grotto of Christopher St.” ─────────────────── 15. 天與地之間│一九八八年│而立書房│這本書描寫一個女孩遭到蹂躪，畏懼成人與男性。中澤新一 60 還在書腰撰寫推薦文。 Ten to chi no aida (Between Heaven and Earth)│1988│Jiritsu Shobo, Tokyo (In Japanese) │ Depicts a girl devastated by a fear of adults and men. The wraparound band has a recommendation from Shinichi Nakazawa.

│ │ │ 7

│

16. 螞蟻的精神病院│一九九四年│而立書房│這本短篇集收錄了同名的寓言作品，描述一間精神病院設置在螞蟻住的木頭裡面以及其他的故事。 Ari no Seishinbyoin (The Madhouse of Ants)│1994│Jiritsu Shobo, Tokyo (In Japanese)│Collection of short stories including the allegorical title tale of a mental hospital in a tree inhabited by ants. ─────────────────── 17. 徬徨在沼地│一九九二年│而立書房│故事描繪藝術大師與一位日本新銳女性藝術家之間無法掙脫的愛情。 Numa ni Mayoite (Lost in Swampland)│1992│Jiritsu Shobo, Tokyo (In Japanese) │ Depicts an inescapable love between a big-name artist in the art world and a Japanese female budding artist. ─────────────────── 18. 心痛的吊燈│一九八九年│沛遊特工房 61│這部青春小說寫的是一個在紐約經營SM俱樂部的女主角，描述她的戀愛與生活。 Itami no shanderia (Aching Chandelier)│1989│Peyotoru Kobo, Tokyo (In Japanese)│Youth novel about the loves and life of a heroine who runs an SM club in New York. ─────────────────── 19. 伍茲塔克陰莖斬│一九八八年│沛遊特工房│這部作品敘述一個女孩住在藝術村日復一日過著骯髒的生活。淺田彰 62 在書腰上撰寫推薦文。 Wuddostokku inkei giri (Woodstock Phallus Cutter)│1988│ Peyotoru Kobo, Tokyo (In Japanese)│Depicts the daily opprobrium of a woman living in an artist village. The wraparound band has a recommendation from Akira Asada. ─────────────────── 20. 堇花妄想│一九九八年│作品社│這部傑出的長篇內容描述一個少女的心情變化，從她被關進精神病院直到最後脫逃離開。 Sumire kyohaku (Violet Obsession) │ 1998 │ Sakuhinsha, Tokyo (In Japanese)│A novel depicting the emotional state of a woman who enters, and runs away from, a mental institution. A masterpiece.

│ │ │ │ │ │ │ │

11 12

│

152

青山墓園這一場，是松本導演唯一拜託草間彌生特地拍攝的外景。請她朗讀自己寫的〈櫻花〉這首詩。

────────

Curators visit to discuss 2 0 0 8 tra-veling exhibition in Europe. “ I want to exhibit new work, ” she asserts.

Kusama meticulously reads her own article. Looking at other artists’ work, she comments, “My work is far better.”

In a scene on location at Aoyama Cemetery, director Matsumoto’s sole request, Kusama recites her own poem “Cherry Blossoms.”

At work, Kusama is told she received the 2006 Order of the Rising Sun. “What will I wear at the ceremony?” she murmers.

At work on Love Forever, she draws dots without hesitation. Her swift speed shows obvious concentration.

────────

二○○六年生日，草間彌生在作品上簽名。跟她請教年齡她好像不太高興，回答說：「這種事情不要問我。」 ──────── “Don’t ask such a question,” says

Kusama crankily when asked of her age while signing a work on her birthday in 2006.

︽草間彌生︾這部紀錄片在二 ○○ 八 NEAR EQUAL

號的巨大畫作系列﹁愛會長長 F100 63

年正式上映。這部片在將近一年半的時間內貼身拍攝草

間彌生，一直拍到

久久﹂五十件作品全部完成。

導演是自由導演松本貴子。松本第一次和草間碰面

是在一九九五年。

﹁我在做電視藝術節目調查研究的時候，偶然之間翻

了一下草間老師的資料。結果才知道她從小就會看到幻

覺，在美國進行裸體演出，經歷過非常戲劇性的人生。

一方面心裡湧上一股好奇，想說不知道是什麼樣的人，

另一方面又有點害怕和她見面。﹂

事實上，當時的草間真的是讓人覺得很不容易親近。

﹁身上的衣服也不像現在這樣是粉紅色，主要是黑或

紫這類比較暗的顏色。表情也讓人覺得很嚴厲。感覺當

時她批判僵化的藝術界比現在批得還兇。﹂

這個節目成為一個契機，松本﹁彷彿像是被吸引那樣﹂

開始追蹤草間的消息。一九九八年草間彌生在洛杉磯和

紐約召開大規模回顧展，那時候她也同行跟去，拍攝的

草間彌生︾ NEAR EQUAL

影像後來在ＮＨＫ播出。漸漸地，松本開始產生一個念

六年，︽ ○○

頭，想要挖掘草間彌生更平凡的那一面。

就這樣，二

開拍，長期正式的貼身拍攝終於得以啟動。

用﹁固定攝影機﹂，拍攝草間如何作畫

松本獲得了拍攝許可，可是事情並非就此一帆風順。

在這段拍攝過程中，松本甚至一度遭到草間彌生﹁拒絕

往來﹂。這件事情發生在人潮洶湧的花季，前往青山墓

園拍攝之時。

﹁那次是我唯一主動拜託草間老師前往青山墓園外

拍。然而老師婉轉表示：﹃今天我就在此告辭。﹄就回去

了。後來我才聽說她很想要畫畫可是被迫不得不中斷，

對這件事情感到非常生氣。﹂

這樣一來當然就不能拍了。無路可走的松本想出一個

點子。就是在草間工作室的天花板附近安置一個固定攝

影機，即使沒人操作也可以拍。攝影機就這樣靜靜從草

155

「愛會長長久久」的製作過程。繪製圓點的時候毫不遲疑。從她下筆的速度就可以看出她有多專注。

────────

創作過程中，草間彌生接到通知說自己榮獲二○○六年旭日小綬章 66。喃喃念著頒獎典禮上「自己要穿什麼衣服好呢？」 ────────

貼身拍攝顯現﹁天才﹂不為人知的一面。密着映像が伝える、天才の知られざる顔。

認真讀著自己的報導。看到其他創作者的作品還下評語說：「我的作品比他厲害多了。」

Intimate ﬁlm shows hitherto unknown face of “genius”.

策展人前來開會討論二○○八年的歐洲巡迴展。她積極表示：「我想要展示新作。」

154

草間彌生參加電視節目《北野武的大家都是畢卡索》預演，開心跳著原創舞步。

草間的背影，疊合她朗誦自己的詩〈華麗之路〉。內容意識到死亡，回顧自己跌宕起伏的人生。

────────

Joyfully rehearsing an original dance for the TV program Takeshi’s Anyone Can Be Picasso.

One can see a crossover of her back view with her poem Spectacular Road that she recites. The poem is about consciousness of death and reﬂection of a tumultuous life.

「面對畫布的時候我的腦袋一片空白。是在畫的過程當中才浮現出各式各樣的靈感。」

松本小姐拍攝遭到禁止的時候，她透過安置在天花板的「固定攝影機」拍攝。畫布一下子就畫滿了。

前往工作室途中。策展人聽到草間彌生要求他發表感想，回答說：「我會幫它們蓋OK的章。」

────────

Looking up at a work wrapped up ready to be sent overseas, “Oh it’s wonderful, it even takes my breath away.”

“When I begin on a canvas, my

In a scene from the ﬁxed camera when Matsumoto was banned from filming, Kusama fills the canvas in next to no time.

On the way to the studio, the curator, when asked for an appraisal of her drawings, tells Kusama, “I would give them the OK stamp.”

head is completely clear. While I am drawing, a heap of various ideas start ﬂowing.”

間開始下筆一路拍到作品完成。

﹁說不定這可以說是不幸中的大幸。雖然我覺得應該

有很多人看到老師的作品會想說：﹃到底她是從哪邊開

始下筆？﹄可是她一下子就開始動手感覺相當輕鬆，讓

人出乎意料。不是那種緊張的感覺。﹂

結果一個月後，這個禁令在草間接受旭日小綬章的頒

獎典禮上解除了。草間彌生走到惴惴不安的松本小姐身

邊溫柔對她說：﹁松本小姐，你這件衣服很好看。﹂攝影

就此再度展開。

女演員的表情和少女的表情

都透過貼身拍攝顯現出來

松本小姐表示草間彌生有著各式各樣的表情。有時候

她會披上紅色或粉紅的的假髮，穿上自己設計的圓點服

裝變成女演員扮演﹁草間彌生﹂這個角色。另一方面，

她專心創作的樣子又像是一個﹁嬌小可愛、喜歡畫畫的

少女﹂。松本小姐覺得她的本質是﹁天真、敏感、又溫

柔﹂。

﹁她拿新作品讓策展人看的時候，反覆問了好幾次：

年代就認識待在紐約創作的 ○

﹃你覺得怎麼樣？﹄透過這種方式確認別人對自己的評

六

價，激發自己勇往直前，同時張開強力的防護罩保護自

己脆弱的部分。﹂

戴爾 •

就松本小姐的角度來看，草間彌生總是全力以赴。

﹁藝術家湯姆

草間彌生，他回顧當時的狀況表示：﹃彌生像是一個發

條上得很緊的玩偶。﹄不過就某些角度又有弱點，相當

可愛。會讓人充分感受到她平凡的魅力。﹂

草間穿著日常家居服出現在紀錄片中，這是只有身邊

親近的人才看得到的畫面。鏡頭沒有放過這些沒有上妝

穿著簡便的身影，還有她突然間隨口吐露的字句。

﹁草間彌生平素的樣貌從來沒有曝光到這種程度。然

而因為她是超棒的拍攝素材，所以我也不想要搞砸這道

菜。我希望能夠捕捉藝術家草間彌生的一舉一動，保留

她的新鮮感並呈現出來。﹂

松本小姐懷抱著這樣的心貼身拍攝草間彌生創作五十

157

一邊抬頭仰望打包完成準備送往海外的作品一邊感嘆說：「哇，真是太漂亮了，連我都不禁要倒抽一口氣。」 ────────

156

────────

“I Adore Myself ” Cast: Yayoi Ku-

The completed 50 canvases of Love Forever are lined up along the street next to the studio, “I’m pleased I have made this many.”

The scene of Kusama’s beaming joyful face upon her completion of the fiftieth canvas of Love Forever. The scene gave Matsumoto goose bumps.

sama / Director: Takako Matsumoto / Cooperation: Yayoi Kusama Studio / Production, distribution and promotion: B.B.B. inc. 2008 / DV / Color / 1h:42m

幅﹁愛會長長久久﹂，覺得自己和對方像是﹁命運共同

體﹂那樣，彷彿自己也一起跟著向目標邁進。片中草間

彌生完成第五十張圖的時候說：﹁畫完了。﹂露出相當開

朗的笑容。

﹁這是我過去從來沒有見過的平凡的一面，是一張坦

率開心的臉。拍到這個微笑的時候，我全身都起雞皮疙

瘩。放眼過去與現在，都沒有出現草間彌生這樣的角

In addition to the main feature, the DVD contains three bonus scenes that are essential viewing for Kusama fans. Director Takako Matsumoto entered the film and television industry after being selected for the sixth PFF (Pia Film Festival) award. As a freelance director, she has participated in documentary programs such as Jounetsu Tairiku (Enthusiastic Continent) and Ningen Document (Human Documentary).

色。如此想來，就覺得我能夠受邀參加這次拍攝真的是

（Pia Film Festival）才跨進影像的世界，以自由導演的身分參與過《情熱大陸》與《人類記錄》（にんげんドキュメント）等紀錄片節目。 ────────

太好了。﹂

DVD中除了電影本片之外，還收錄了草間彌生粉絲必看的三段特別收錄。導演松本貴子是入圍第六屆PFF

松本小姐為了二 ○ 一一年七月播放的節目繼續追蹤拍

159

完成五十幅「愛會長長久久」當下露出的開朗笑容。這個畫面讓松本小姐「全身起雞皮疙瘩」。

攝草間彌生。接下來，我們又會看到﹁天才﹂的哪一面

Matsumoto received permission to film, but that is not to say the filming process went smoothly. Once, during a filming session, Matsumoto was barred access. The incident occurred when filming at Aoyama Cemetery, which was filled with people viewing cherry blossoms. Matsumoto recollects, “The Aoyama Cemetery shoot was the only occasion that I had requested that we go to a specific location. While there, Ms. Kusama politely said, ‘If you will excuse me, I will leave now.’ and promptly went home. I later heard that she was very angry because she had to cancel her plans to continue drawing, which she had wanted to do.” Then, of course, it wasn’t possible to film. In a quandary, Matsumoto proposed a plan: to install a “fixed camera” near the ceiling of Kusama’s studio. This made it possible to film without the need for anyone to be present. The camera would unobtrusively capture Kusama drawing from start to finish. “In this sense, it was fortunate that things turned out this way. I think that many people when they look at Ms. Kusama’s paintings wonder, ‘Where did she start drawing from?’ She actually starts drawing in a sweeping fashion with an unexpectedly light touch. There is no sense of her rolling up her sleeves and starting off with gusto.” Kusama finally lifted the ban after a month, coinciding with the award ceremony for her to receive the Order of the Rising Sun. As Matsumoto nervously approached Kusama, “Ms. Matsumoto, your outfit is adorable!” said Kusama kindly. The filming was restarted.

工作人員將完成的五十張「愛會長長久久」並排在工作室旁邊的巷內。「太棒了，完成這麼多作品。」

呢？真是讓人期待。︵青野尚子︶

How she drew was captured by a fixed camera

「NEAR EQUAL 草間彌生」主演：草間彌生導演：松本貴子協力：草間彌生工作室 2008年 DV 彩色 1小時42分 ────────

The documentary film I Adore Myself released in 2008, stuck closely to Kusama over a period of one and a half years to follow until completion the creation process of her series of 50 large F100-size canvases entitled Love Forever. It was directed by freelance director Takako Matsumoto who first met Kusama in 1995. “I was researching for a TV art program, skimming through various materials on Ms. Kusama, when my curiosity was piqued by her stormy life—seeing hallucinations as a child and conducting nude performance in America. While I was eager to find out what kind of person she was, the thought of meeting her was daunting.” Matsumoto recalls that Kusama at that time had a somewhat unapproachable atmosphere around her. “The clothes she wore then were mostly dark colors like black and purple in contrast to the bright colors such as pink that she wears today. Her facial expressions were also stern, and her criticism of the rigid art world was perhaps stronger than today.” The TV program served as a catalyst for Matsumoto to begin following Kusama, as if she “had been pulled to her by gravity.” In 1998, Matsumoto traveled with Kusama to a grand retrospective exhibition held in Los Angeles and New York, and video footage of this trip was later broadcast on NHK, Japan’s national broadcaster. Over time, Matsumoto started to feel she wanted to do a more in-depth profile piece on Kusama. She finally got the opportunity for a more intimate piece over a longer time frame when I Adore Myself was started in 2006.

www.kusama-loveforever.com

158

世界品味人士都喜歡草間彌生的作品。 ─

世界の目利きが愛する、クサマ作品。 ─

Kusama’s works loved by connoisseurs around the world.

─

The intimacy of the film reveals an actor’s face and a little girl’s face Matsumoto tells how Kusama has many faces. Sometimes she dons a red or pink wig and dresses up in clothes covered in dots of her own design. She becomes an actor playing the role of Yayoi Kusama. In contrast, Matsumoto describes Kusama while concentrating on her work to be like “a small cute girl who likes to draw pictures.” However, she also describes Kusama’s true human essence as having a “naive sensitive gentleness.” “When she showed the curators her new work, she asked repeatedly, ‘What do you think?’ While she uses appraisals from others as a way to motivate herself, it is also a way of guarding her fragility.” Matsumoto considers Yayoi Kusama to be always giving one-hundred percent of her energy. “Artist Tom Doyle, who knew Ms. Kusama while she was producing work in New York in the sixties, said ‘Yayoi was like a fully wound wind-up doll.’ when he recollected how she was during that period. But she also has a totally unguarded side that reveals her adorable qualities. I feel she has a very human charm.” The film allows us to glimpse the ordinary life of Kusama that normally only those close to her see. It shows her with no makeup in rough clothes and includes remarks that are inadvertently uttered. Matsumoto says, “Her natural self had never been exposed to the public before. But considering her worth as a subject, I didn’t want to botch the meal using such quality ingredients. I wanted to capture the message of the artist Yayoi Kusama and express while maintaining its freshness.” With these motives in mind, Matsumoto, who had stuck close to Kusama as she drew the 50 canvas Love Forever, felt like she was aiming for the same goal as Kusama as if they were “sharing the same destiny.” The film shows the beaming happy face of Kusama saying “I drew them!” after she completed the fiftieth canvas. “We saw her natural reaction that we had not seen before, a genuinely joyful face. When I captured this smile on camera, I got goose bumps. There will never again be a person like Yayoi Kusama. I am very grateful that I was drawn to make the film.” Matsumoto has continued to follow Kusama to make a TV program scheduled to be broadcast in 2011. We are eagerly waiting to see what kind of face of “genius” that Matsumoto will show us next.

160

Special charm that enthralls even major collectors.

草間彌生獨特的魅力連知名收藏家都無法抗拒。著名コレクターも夢中にさせる、特別な魅力。ドイツ │

德國英格薇爾德•蓋茲這位收藏家以當代藝術為主收集

寫信給草間彌生。後來收到的回信口吻相當親密，感覺

的眼睛在看世界的感覺。」她受這件作品感動，甚至還

在她收藏的作品當中，她最喜歡的，是由兒童型模特

了五千件以上的作品，包含馬利歐•梅茲 67、馬修•

「Sammlung Goetz」（Goetz Collection），享譽歐洲

兒和椅子所組成的雕塑作品《無題》。「粉紅色的圓點浮

簡直就像是老朋友的寒暄。

當代藝術圈。她以位在慕尼黑、由赫爾佐格和德梅隆 70

現在綠色的網眼圖案當中，彷彿即將要侵蝕到周遭的世

Ingvild Goetz

現方式解釋說：「那種突起物撲向水果和餐具，吞噬日

設計的私人美術館為根據地，對於當代藝術很有研究，

對她而言，草間彌生是她特別心愛的創作者。直到今

常生活的樣子相當震撼。」讓人感受到她對這件作品的

界。」至於她最新的收藏《夏日終結》，她則用生動的表

天，總共收藏了單色素描、版畫、立體雕塑、影像等等

愛。

「她對性的表現非常直接，完全不加掩飾。大膽感性

看到草間彌生的作品。

間彌生本人一樣。「貪戀生命的同時，死亡總是在旁虎

為她認為這艘綴滿突起物往返生死世界的小船就像是草

聚─千舟連翩》（One Thousand Boats Show）。因

接下來她想要盡可能納入收藏的草間彌生作品是《積

到令人難以置信……那種表現方式讓我相當震驚，完全

Director of Goetz Collection

英格薇爾德 • 蓋茲 Sammlung Goetz負責人イングヴィルド・ゲッツザムルング・ゲッツ主宰 │GERMANY

一九六六年，蓋茲創立了平面藝術的出版社。一九六九年起，也開始在瑞士蘇黎世經營畫廊。一九九六年，她將據點轉移至慕尼黑，開設私人美術館。

http://www.sammlung-goetz.de/

In 1966, Ingvild Goetz founded a gra-phic art publishing company, a n d t h e n i n 1969 , s h e b e g a n operating a gallery in Zurich. In 1993, she relocated to Munich and opened a private museum.

位世界知名的收藏家都為之著迷。（河內秀子）

視眈眈。」草間彌生的作品具備相當特殊的魅力，連這

「凝視那些圓點和突起物，就會陷入一種好像透過草間

念》（Sex Obsessio），在襯衫上連綴大量軟墊突起物。

她購買的第一件作品是草間一九七六年製作的《性執

那些充滿情緒的作品。」

的藝術圈。還沒有足夠的養分和空間去接受女性創作者

藝術家創作的極簡主義普普藝術主宰著六○∼七○年代

們彼此並沒有見過。她以感嘆的口氣回顧過去：「男性

家，可惜的是草間彌生六○年代在紐約活動的時候，她

英格薇爾德從六○年代起就開始遍訪全世界的藝術

沒有料到是日本女性畫家的作品。」

1994年，英格薇爾德第一次在紐約的畫廊展示當中

類別廣泛的十九件作品。

其他美術館也會委託她進行策展。

巴尼 68、莎拉•墨利斯 69 等等藝術家。她的收藏稱之為

蓋茲收藏了十九件手法和時代各不相同的草間作品，從影像到雕塑都有。右起：《夏季終結》（一九八○年）、《聚（一九六七年）、由兒童型模特兒集 1》和椅子所組成的作品《無題》（一九六六年）。

Goetz owns 19 works of various eras and methods ranging from film to sculpture. From right: End of Summer (1980), Accumulation 1 (1967), Untitled (child mannequin and a stool) (1966).

162 163

（Go私人美術館「Sammlung Goetz」 etz Collection）。這座寧靜的建築由赫爾佐格和德梅隆設計。企畫展會定期在此舉辦。

The private museum Sammlung Goetz (Goetz Collection). The tranquil building was designed by Herzog & de Meuron. It regularly holds special exhibitions.

庫房裡面收藏了數量相當豐富的作品。《南瓜》（一九八○年）系列的立體作品也在其中。壓克力之類的畫作是用抽取式的軌道架來收納。同時她還收藏了好幾件早期的單色素描作品。

The storage room contains a mammoth collection of works. Regarding Pumpkin (1 9 8 0), she also owns related threedimensional works. Works such as acrylic paintings are stored on sliding racks. It also contains drawings from Kusama’s early period.

Ingvild Goetz, a collector in possession of more than 5,000 works of mostly contemporary art such as Mario Merz, Matthew Barney, and Sarah Morris. Her collection is called the Sammlung Goetz (Goetz Collection) and is famous among the European contemporary art scene. Although she bases her activities at her own private museum designed by Herzog & de Meuron, having a profound knowledge of contemporary art, she is sought after by other museums for her curation services. Goetz has a special fondness for Yayoi Kusama. She currently possesses 19 works of a wide range of genres including film, three-dimensional art, block prints and drawing. It was 1994 when Goetz first encountered Kusama’s work at a New York gallery exhibition. “Her expression towards sex was very direct without pretense. It was unbelievably bold and emotional. I was stunned by the method of expression as it was unexpected from a Japanese female artist.” Goetz, who has been meeting with artists around the world since the sixties, regrets not having the chance to have met Kusama in the sixties while she was active in New York. She reflects wistfully, “The art world of the sixties and seventies was dominated by the minimalist pop art of male artists. There was no fertile ground for emotional works by female artists.” The first work that Goetz purchased was Sex Obsession, created in 1976, which is a shirt on which large protruding cushions are affixed. “When you stare at the polka dots and the protrusions, you become completely lost in the sensation as if you are viewing the world with Kusama’s eyes.” She was really moved by this work and even wrote a letter to Kusama. The letter she received in reply was filled with intimacy as if it were a letter to a long-time friend. Of the works that she owns, Goetz’s favorite is Untitled, which is a sculptural work of a child mannequin and a stool. She comments, “The pink polka dots seemingly are floating up from the green net pattern, and one feels them encroaching on the surrounding world.” Of End of Summer, the most recent addition to her Kusama collection, she comments with rich

expressions rich that show her affections towards the work, “Forcing aside the fruit and food utensils and exhaustingly eating up the every-day, the protrusions are overwhelming.” The next work that she desperately wants to acquire is Aggregation: 1000 Boat Show. She feels that this boat affixed with protuberances traveling to and from the worlds of life and death to be Kusama herself. “While hungrily devouring life, death is always dangerously lurking alongside.” In Kusama’s works, there is a special attractiveness that even renowned international collectors such as Ingvild Goetz become enthralled with.

《無題》（一九六七年），突起物如雨後春筍自草帽四處生長出來。英格薇爾德說：「我特別喜歡她早期的作品，作品的表現充滿力量。」

Untitled, work with protrusions mushrooming from a straw hat (1967). Goetz says, “I particularly like works of the early period in which you can feel an impulsive expression.”

164 165

僅僅四年半就收集了七十件作品。わずか年半で、点もの作品を買い集める。

70 works collected in only 4.5 years. 利托リト

& &

卡馬丘夫婦靠在南瓜靠枕上笑著說：「我們兩個都被草間附身了。」直到四年前，他們的收藏還幾乎全都是東南亞藝術和骨董，不過近五年收購的藏品有九十%都是草間彌生的作品。

的眼睛在看世界的感覺。」她受這件作品感動，甚至還

“We are both possessed by Kusama.” The Camachos smile amongst the pumpkin cushions. Four years ago, their art collection was mostly South East Asian art and antiques, but about 90% of their acquisitions in the last five years is comprised of Kusama works.

英格薇爾德•蓋茲這位收藏家以當代藝術為主收集

新加坡 │SINGAPORE

シンガポール │

在她收藏的作品當中，她最喜歡的，是由兒童型模特

寫信給草間彌生。後來收到的回信口吻相當親密，感覺

「Sammlung Goetz」（Goetz Collection），享譽歐洲

兒和椅子所組成的雕塑作品《無題》。「粉紅色的圓點浮

了五千件以上的作品，包含馬利歐•梅茲 67、馬修•

簡直就像是老朋友的寒暄。

當代藝術圈。她以位在慕尼黑、由赫爾佐格和德梅隆

現在綠色的網眼圖案當中，彷彿即將要侵蝕到周遭的世

巴尼 68、莎拉•墨利斯 69 等等藝術家。她的收藏稱之為

設計的私人美術館為根據地，對於當代藝術很有研究，

現方式解釋說：「那種突起物撲向水果和餐具，吞噬日

界。」至於她最新的收藏《夏日終結》，她則用生動的表

常生活的樣子相當震撼。」讓人感受到她對這件作品的

其他美術館也會委託她進行策展。對她而言，草間彌生是她特別心愛的創作者。直到今

愛。

天，總共收藏了單色素描、版畫、立體雕塑、影像等等類別廣泛的十九件作品。

Lito & Kim Camacho 中看到草間彌生的作品。

為她認為這艘綴滿突起物往返生死世界的小船就像是草

聚─千舟連翩》（One Thousand Boats Show）。因

接下來她想要盡可能納入收藏的草間彌生作品是《積

「她對性的表現非常直接，完全不加掩飾。大膽感性

間彌生本人一樣。「貪戀生命的同時，死亡總是在旁虎

一九九四年，英格薇爾德第一次在紐約的畫廊展示當

到令人難以置信……那種表現方式讓我相當震驚，完全

視眈眈。」草間彌生的作品具備相當特殊的魅力，連這

利托是國際銀行家，經常奔波世界各地。身為菲律賓政府高官，對國家財政穩定有很大的貢獻。他的妻子金帶大六個小孩，同時兼任蘇富比菲律賓代表等職務。現在他們住在新加坡，利托任職國立遺產局委員，金則擔任國立美術館的顧問。

Lito is an international banker who flies around the world. He has contributed to the financial stability of the Philippines by serving as a government official. His wife Kim was representative of the Sotheby’s Philippine Office while raising six children. Now living in Singapore, Lito also serves as a member of the National Heritage Board while Kim serves as advisor to The National Art Gallery of Singapore.

位世界知名的收藏家都為之著迷。（河內秀子）

沒有料到是日本女性畫家的作品。」英格薇爾德從六○年代起就開始遍訪全世界的藝術家，可惜的是草間彌生六○年代在紐約活動的時候，她們彼此並沒有見過。她以感嘆的口氣回顧過去：「男性藝術家創作的極簡主義普普藝術主宰著六○∼七○年代的藝術圈。還沒有足夠的養分和空間去接受女性創作者那些充滿情緒的作品。」她購買的第一件作品是草間一九七六年製作的《性執念》（Sex Obsessio），在襯衫上連綴大量軟墊突起物。「凝視那些圓點和突起物，就會陷入一種好像透過草間

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Vice Chairman, Credit Suisse Asia Pacific

金 • 卡馬丘佳士得亞太地區副會長夫婦キム・カマチョクレディスイス・アジア・パシフィック地区副会長夫妻

當廣。兩人出遊也變成草間作品之旅。

《地上的銀》擺設在玄關旁。夫妻倆的收藏包含繪畫、物件到出版品，範圍相

At the entrance is Silver on the Earth. The collection has a wide variety of works ranging from pictures to objects and books. The Camachos’ travels together have become Kusama work tours.

屋內牆上也掛著作品。前景是草間創作的珍貴服裝。屋內深處則是《性執念》，收藏還在持續增加。

The works are hung on walls around the house. In the foreground is a precious Kusama garment work. In the background is Sex Obsession. The collection is still growing.

現在他們最小的兒子和他們住在一起，每天都和草間彌生的作品近距離接觸。兩位較大的女兒和雙親一樣畢業於哈佛大學，現在正以新銳藝術家的身分進行活動。

Also living in this house, the youngest son spends his days in close acquaintance with Kusama works. Their two eldest children, who both graduated from Harvard University like their parents, have become budding artists.

In late autumn 2004, former finance minister for the Philippines government, Lito Camacho, visited Japan at the invitation of the Japanese government. His wife, Kim, who was accompanying him on his work, encountered Kusama’s artwork at the exhibition “Eternity-Modernity” at The National Museum of Modern Art, Tokyo. She says, “I was lost for words and overwhelmed by the power of this exhibition. I couldn’t bear the thought of my husband going home without seeing this, so I requested that he make the time. Then the two of us went to the exhibition. The most impressive of the works was Fireflies on the Water. I had not seen an exhibition with such a strong message since I saw Matthew Barney at the Guggenheim Museum.” On that visit to Japan, with no time to see an art dealer, they returned home only managing to view the exhibition, but the impression from the powerful impact of Kusama’s works remained for a long time thereafter without diminishing. In the following year, the couple moved from the Philippines to Singapore when Lito took up his current position as Credit Suisse Asia Pacific Vice Chairman. “Soon after we moved in to this house, our attention became riveted to a polka-dot design postcard addressed to the previous resident.” It was an invitation to a Kusama exhibition held by the local gallery “ART-2” that was participating in the art fair “Art Singapore 2005.” Kim Camacho at the time had already had the experience of establishing the Philippines office of the auction house Sotheby’s and was known as an avid collector of South East Asian art. She says, “I had resigned from Sotheby’s and was starting a new life in Singapore. I was just at the moment of deciding what to do, and suddenly, all my energy went to Kusama.” This was the turning point that began the Camachos obsession with collecting Kusama works. After visiting galleries and participating in auctions in various countries for four-anda-half years, they have amassed a collection of over 70 works including large and small works. Showing no signs of waning, their passion continues to be as strong as ever.

Statue of Venus Obliterated by Infinity Nets. “I think she is the greatest artist of the second half of the 20th Century. The power of the works is amazing.”

In fact, upon visiting their greenery-surrounded tranquil residence, it was surprising to see the large house was filled with Kusama’s works. Sex Obsession hangs on the dining room wall. In the living room, a precious three-dimensional work stored in a glass case on the table shares the room with Chinese antique furniture, a Persian rug and countless photos of family memories. Their private residence in Manila, the Philippines, is currently being renovated with plans to create a large 200square-meter living room to be filled with Kusama works. Inspired by the Camachos, other Asian friend have also started to collect Kusama’s works. The unique aura of Kusama’s works that has so grabbed their hearts is truly astounding.

of Venus Obliterated by Inﬁnitity

《消融在無限的網中的維納斯》（Statue 「我認為她是二十世紀後半最棒 Nets）的藝術家，作品力量非常驚人。」

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歐美藝壇推升草間彌生地位的傳奇推手。欧米での評価を後押しした、伝説の仕掛け人。 73

Installation scene: Narcissus Garden (1 9 6 6). The installation used 1,500, 20 cm-diameter mirror balls. This is one of Kusama ’ s works that Zelevansky most praises.

Legendary Instigator Behind Kusama’s Rise in Status in West. 生。「就算標舉出她的名字，大部分的人都不會有反應。

裝置場景：《自戀庭園》（一九六六年）。這件裝置作品用了一千五百顆直徑大約 20cm的鏡球，是琳．捷雷凡斯基最讚賞的草間作品之一。

「我第一次看到草間彌生的作品是在一九九三年年

可是，展覽開始之後，就如同我們的預期，她的評價開

捷雷凡斯基在紐約現代美術館策畫「理性與感性」（Sense and Sensibility）等等展覽，後轉任洛杉磯郡立美術館 74。二○○九年就任卡內基美術館 75 館長。著有多本藝術評論領域相關著作。

底。當時我任職於紐約現代美術館，正在重新遴選常

始產生變化。大家開始接觸我們討論相關展示，甚至有

At the Museum of Modern Art (MoMA) she helped bring many exhibitions to fruition, including “Sense and Sensibility.” She then relocated to Los Angeles County Museum of Art. She began her current position in 2009. As an art critic, she has written many books.

設展的展品。當時我看到的草間作品是《圖章的累積

人提議後續是否可以前往歐洲巡迴。」

美國アメリカ │

的愛」巡迴到紐約現代美術館，接著前往明尼蘇達的沃

雖然最後很可惜沒有辦法前往歐洲巡迴，不過「永恆

（スタンプの集積No.63）。」琳•捷雷凡斯基站 No.63》在卡內基美術館一角的房間回顧過去。她現在是這裡的館長。

克藝術中心 78。在東京都當代美術館也有展出。

Lynn Zelevansky

「現在草間彌生在歐美獲得很高的評價，然而我認為

當她第一次看到草間的平面作品如此強調連續的固定形狀，真的是相當驚訝。

這些評價都可以追溯到這次展出。」經手這次展覽的琳• 捷雷凡斯基露出相當滿意的表情。

「我覺得她把美國極簡主義的邊界又推得更廣。這件作品貼滿數不清的圖章，表現出來的不是工業的無機

「接下來我想要聚焦在八○年代之後的作品上，規畫（秦隆司）新的草間彌生展。」

這座美術館是匹茲堡卡內基博物館的其中一部分。位於匹茲堡市中心。

http://web.cmoa.org/

Located in the center of Pittsburg, the museum is one of the Carnegie Museums of Pittsburg.

感，而是女性有機的元素。」捷雷凡斯基後來離開紐約現代美術館轉到洛杉磯郡立美術館，她在當地企畫的第一個展就是以草間彌生紐約時期為主的「永恆的愛草間彌生 1958-1968」76。「就結果而言，在『永恆的愛』之前我也辦過好幾個其他藝術家的展，不過當時對我來說，真正最想做的只有草間彌生的作品展。」她為了促成這個展，花了三年周旋在歐洲、美國和日本，從世界各地收集草間彌生的作品。後來，過了一年半左右，當時任職於紐約現代美術館的羅拉•霍普特曼77 表示要伸出援手。「雖然這是洛杉磯郡立美術館主辦的展覽，不過策展部分是由我和羅拉來負責。我還記得在展覽舉辦之前就全身充滿能量，預感一定會成功。」然而在展覽舉辦當時大部分的人都還不認識草間彌

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Director of the Carnegie Museum of Art

琳 • 捷雷凡斯基卡內基美術館館長リン・ゼレヴァンスキーカーネギー・ミュージアム・オブ・アートディレクター │U.S.A.

琳•捷雷凡斯基女士與現在藏於卡內基美術館的草間作品《銀外套》（Silver Coat）合影。這件作品製作於一九六二年左右，由塞滿填充物的縫製布料製作而成。

Lyn Zelevansky stands with Kusama’s work Silver Coat, currently part of the collection at the Carnegie Museum of Art. It was made using stuffed sewn material around 1962.

“The first time I saw Yayoi Kusama’s work was at the end of 1993. I was working at the Museum of Modern Art (MoMA) at the time, and a reselection of the permanent exhibition was underway. The work of Yayoi Kusama’s that I encountered was Accumulation of Stamps, 63. Lyn Zelevansky, currently serving as Director of the Carnegie Museum of Art, is standing in her spacious room in a corner of the museum, recollecting the moment. Zelevanky says she couldn’t contain her surprise at the time when she first viewed the twodimensional work of Kusama’s that placed so much emphasis on continuousness of the fixed shape form. “I felt that she had pushed forward the boundary of American minimalism. The impression I got from this work of numerously pasted stamps was not an impersonal industrial feeling; there were feminine organic elements.” After this, Zelevanky left MoMA to the Los Angeles County Museum of Art, but her very first planning project was “Love Forever: Yayoi Kusama, 1958-1968,” which centered on Yayoi Kusama’s New York period. She says, “As it turned out, we held a number of artist’s exhibitions before holding “Love Forever,” but at the time, the only exhibition that I really wanted to do was an exhibition of Yayoi Kusama’s works.” To realize this exhibition, Zelevanky, over a period of three years, collected works of Kusama from around the world

including Europe, the U.S. and Japan. Then, after one-and-ahalf years passed, Laura Hoptman, who was at MoMA, offered to collaborate. Zelevanky says, “Los Angeles County conducted the exhibition, but Laura and I were charged as the curators. I remember this overflow of energy beginning before the exhibition was held. I just knew it was going to be a success.” However, at the time the exhibition was held, many people didn’t even know Kusama existed. “Most of the time when we mentioned her name to people, we were met with blank expressions. But when the exhibition was held, it was as we expected; assessment of her changed. People began approaching us to talk about possible exhibitions, and there was even a request for a traveling exhibition to Europe.” Regrettably, the European tour did not eventuate, but “Love Forever” did travel to MoMA, the Walker Art Center in Minneapolis, and then to the Museum of Contemporary Art in Tokyo. Zelevanky says, “Now, Kusama is highly regarded in Europe and the U.S., but I think the origin of this status can be traced to the exhibition.” The expression on the face of Lyn Zelevansky, who had a strong hand in this legendary exhibition, displays immense satisfaction. “Next, I want to plan a new Yayoi Kusama exhibition that focuses on the eighties onwards.”

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The adorable polka dot dogs invigorate his life.

可愛的圓點狗讓生活更有活力。愛らしい水玉の犬が、生活に刺激を与える。

David Gill

英國イギリス │

Collector

大衛 • 基爾收藏家デイビッド・ギルコレクター

│U.K.

基爾一九八七年在倫敦設立自己的「大衛•基爾藝廊」。一九九九年遷至蘭貝斯（Lambeth）。現在他經手的創作者包含湯姆•狄克森 79、札哈•哈蒂 80 等等。

In 1987, he established “David Gill Galleries” in London. In 1 9 9 9, he relocated to Lambeth. Artists in his collection include Tom Dixon and Zaha Hadid.

「圓點圖案是草間作品的象徵，這個主題充滿想像，讓人感覺到永恆。她的作品完成度很高，而且最重要的是，很美。這些作品之所以這麼吸引人，是因為它們很可愛，又容易融入各式各樣的環境。」面前擺著兩隻可愛的立體狗狗，大衛•基爾把他的想法告訴我們。他是住在倫敦的藝術收藏家，收藏的藝術家從草間算起，理查•普林斯 81、馬丁•克里德 82、甚至到尚•考克多 83 的作品，範圍相當廣。他對當代家飾領域也很有研究，自己在倫敦經營藝廊。「毫無疑問，草間彌生是世界級的立體造型創作者之一，作品本身的存在感相當強。她的風格一直在變，然而幾十年來作品所蘊含的能量都沒有衰退，這種藝術家在當代藝術界相當少見。」大衛喜歡鮮豔的配色還有充滿能量的表現。他家和藝廊位於同一棟建築，寬闊的屋子裡面陳設許多藝術作品。「雖然做實驗把作品並置在一起有時候會引發衝突，不過有時候也會發現更棒的組合搭配。」兩隻花狗也是讓他生活充滿活力的作品。接下來他鎖定的目標是草間「早期的單色素描」，這些作品可以說是建構了草間彌生的自我認同。他會怎樣搭配立體與平面作品相當令人期待。（中原紗代子）

http://www.davidgillgalleries.com/

《Ton Ton》（左）和《RYU-CHAN》（右）。基爾先生坐在大師法蘭茲•威斯特 84 的雕塑作品上。身後搭配德國創作新銳喬納珊•密斯 85 的畫也相當協調。

Ton Ton (left) and Ryu-chan (right). Gill is seated on a sculp-ture by famous artist Franz West, and completing the combination, the painting behind is by an up-andcoming German artist, Jonathan Meese.

“The polka dots that typify Kusama’s work are motifs by which one feels illusion and eternity. Her works are of high quality and, most importantly, beautiful. What makes them so attractive is that they are charming and fit in to any surrounding.” The person saying this with the three-dimensional work of two adorable dogs standing in front of him is David Gill, a London-based art collector who collects—in addition to Kusama—works of a wide range of artists including Richard Prince, Martin Creed and even Jean Cocteau. He also has a profound knowledge of contemporary furniture and operates his own gallery in London. He says, “Kusama is one of the world’s great artists whose works have an overwhelming strength of presence. While her style is forever changing, what hasn’t changed in her works is the power that they possess—even through so many decades— which is very rare for an artist in the contemporary art scene.” Liking vivid color tone and energetic expression, Gill places work right throughout his spacious private residence, located in the same building as his gallery. “When I experimentally place different kinds of works together, rather than reacting negatively with each other, I find that they often fit together even more brilliantly. It gives me great pleasure to see these innovative combinations,” he says. The two dogs are works that invigorate his life. The next works of Kusama that Gill has his eyes on are the “drawings of the early period,” which are said to have formed Kusama’s identity. The way he will combine the threedimensional work with two-dimensional work should certainly be a sight worth seeing.

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郭德蒙從二○○二年至二○一一年四月擔任現當代藝術部門的策展總監。他大力稱讚草間彌生，說她「是一個天才，以相當獨特的原創性吸引廣泛的觀眾。」

A prominent curator tells of her “genius equal to Picasso”.

知名策展人說草間可以和畢卡索匹敵。ピカソに匹敵と、名キュレーターは語る。二○○八年，「草間彌生鏡映年華」（Yayoi Kusama:

荷蘭

Mirrored Years）展在鹿特丹舉辦，引發許許多多話題。策畫這次展覽的是當時任職波伊曼•凡•貝尼根博物館 86 的策展總監雅普•郭德蒙。郭德蒙大力稱讚草間

David Gill オランダ │ 彌生，說她是「和畢卡索匹敵的天才」強烈表達草間彌生的魅力。「每個藝術家都有自己的巔峰時期，從此以後經常會重複先前成功的模式，變得越來越保守。畢卡索之所以被稱之為天才，是因為他到死都不停止追求革新，作品年年都在改變。很少有藝術家可以長年保持創作集中力，就這一點而言，草間彌生無庸置疑就是那少數之一。」郭德蒙分析說草間彌生最大的特徵在於她所有作品誕生的時候，都彷彿在彼此相互強調。「絕大多數的藝術家都是接二連三改變主題在創作，然而草間具備首尾一致的視覺概念和主題。就算並置創作時間相差好幾十年的作品也不會感覺有什麼不協調或是落差，反而會呈現出一種鮮明的整體感。這是她在追尋新事物的同時自我視覺概念沒有動搖的證據。」這位頂尖策展人表示他很期待草間之後的動態。他無法轉移自己的目光，因為草間這位天才在過了八十歲的今天，還是繼續在創作激進的作品。（Yui Kiyomi）

Guldemond had been chief curator of the modern contemporary art division since 2002 till April 2011. He praises Yayoi Kusama highly as “ a genius that mesmerizes a broad audience using rare originality.” 二○○八年波伊曼．凡．貝尼根博物館舉辦「草間彌生鏡映年華」展所展出的《雲》（二○○八年）。

Clouds (2008) shown at the exhibition “ Yayoi Kusama: Mirrored Years” that was held at the Museum Boijmans Van Beuningen in 2008.

It was in 2008 that the exhibition “Yayoi Kusama: Mirrored Years” was held in Rotterdam, drawing immense interest. Jaap Guldemond who used to be chief curator of the Museum Boijmans Van Beuningen was the exhibition’s curator. Guldemond, who proclaims Kusama as a “genius equal to Picasso” talks fervently of her charm. “There are many cases where artists reach their peak and, then afterwards, repeat their successful styles, growing gradually more conservative. The genius of Picasso was that he was an artist who pursued innovation until the end, so that as a result, his works continually changed each year. The extraordinarily rare strength of concentration as an artist that has stayed as powerful as ever throughout Kusama’s entire career unmistakably makes her too one of those artists. For Guldemond, the defining characteristic in the case of Yayoi Kusama lies in the birth of all her works; each work mutually emphasizes the others. “With the majority of artists, the themes gradually change as new works are produced but Kusama has a constancy of vision and theme. Even when you compare two works that were created decades apart, there is no discord or gap between the works. On the contrary, there is a clear overall picture that hangs over both works. This shows that while Kusama is constantly pursuing new things, there remains an unshakable vision.” The prominent curator comments that he is eagerly awaiting Kusama’s next activities, and it seems that he cannot take his eyes off this genius who produces radical new works even now in her eighties.

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Collector

雅普 • 郭德蒙原波伊曼 •凡 •貝尼根博物館策展總監ヤープ・グルデモンド元ボイマンス・ファン・ベーニゲン博物館チーフ・キュレーター │NETHERLANDS

Photo: Fred Ernst

波伊曼•凡•貝尼根博物館。收藏涵蓋中世紀至當代，館藏相當豐富。

Museum Boijmans Van Beuningen. Its collection ranges from the middle ages to the contemporary era. 草間彌生的作品即使並置年代不同的創作，也不會出現任何不協調或是落差。保持著一致的視覺概念。

Even when works created years apart are combined, there is no sense of out of place with Kusama’s works. They possess a coherent vision.

Photo: Fred Ernst

《積聚─千舟連翩》（一九六三年）這是郭德蒙接觸的第一件草間彌生作品。

Aggregation: 1000 Boat Show (1963). This was the first work of Kusama ’ s that Guldemond encountered.

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Photo: Fred Ernst

《水上的螢火》（二○○○年）展出無限光點飄浮的景象。草間被論者評為是沉浸藝術（immersive art）87 的先驅。

Fireflies on the Water (2000). The appearance of infinite lights floating earned Kusama praise as a pioneer of immersive art.

Photo: Fred Ernst

我最喜歡的特質是…… 日本的草間迷。 ─ 日本の草間ファン、私はここが好き。 ─

What I like most... Kusama’s fans in Japan tell. ─

180

草間彌生的創作在我所擁有的眾多作品當中是最突出

I look forward to the further explosion of energy.

期待看到更強的能量爆炸。さらなるエネルギーの爆発に期待したい。的。我是在五十歲左右開始收集她的作品。「圓點」和「網眼」是她作品的主題。這些明明是無機的元素，可是當你看著作品，卻覺得他們會有機地動起

高橋龍太郎來，而且會神秘晃動。此外，她的作品結合了極其簡潔俐落的表現與強烈的敘事─連結到她的人生，這點也讓我非常驚訝。原本這兩種表現意圖應該是沒有辦法並存，然而草間作品在這兩方面卻都達到很高的水準。我

Ryutaro Takahashi 認為就是這點建立她在戰後世界藝術史上的穩固地位。現在我藏有約五十件的草間作品，其中我認為最美的是《通心粉女孩》（參見附圖）。我經營的畫廊開幕時有公開展示這件作品。此外，我也有購買收集和這件作品相關的銀製草間作品。在我遍布東京各處的診所裡面，也展示了大大小小色彩鮮豔的草間作品。一九六○年代她在紐約極其活躍，回到日本之後有段時間被當成一時的話題來消費。不過九○年代之後日本藝壇陷入停滯，她又成為引爆的催化劑。如今市場陷入低潮，說不定草間彌生的能量又會再度引爆。一九四六年生於山形縣，精神醫師。九 ○年代設立高橋診所。他是日本首屈一指的當代藝術收藏家之一，藏品公開展示於「高橋藏品日比谷」。

Born in Yamagata Prefecture in 1 9 4 6. Psychiatrist. Opened Takahashi Clinic in 1990. One of Japan ’ s foremost collectors of contemporary art. His collection is exhibited at “Takahashi Collection Hibiya.”

http://www.takahashi-collection.com/

《通心粉女孩》（Macaroni Girl）原作製於一九六○年代，後來下落不明，這是重新製作的版本。畫廊開幕時有展出。

Created in the sixties, the original Macaroni Girl went missing, and this is a recreation. It was on show at the gallery opening.

Of the many works that I own, Yayoi Kusama is an artist that stands out from the rest. When I was a little over 50, I started a collection of her works. With “dots” and “nets” as themes in her work, one expects elements to be inorganic, but when you look at the work you experience the elements beginning to move organically and fluctuate mysteriously. In addition, her work has a surprising balance between a powerful narrative message that includes her life and an extremely minimal and polished expression. These two consciousnesses that intrinsically shouldn’t coexist both reach an exceedingly high level in Kusama’s work. I think it is this fact that has established her solid standing in postwar world art history. I currently own as many as 50 works of Kusama’s. The one that I find the most beautiful is Macaroni Girl (pictured). This work was exhibited at the opening of the gallery that I operate. I have also collected silver works of Kusama’s related to this work. In contrast to such works, I also exhibit small and large richly colored works in my clinics throughout Tokyo. Even Kusama, who was amazingly active in New York during the sixties, was treated as an ephemeral fad for a while after she returned to Japan. But entering the nineties, she was the catalyst that caused an explosion of the stagnant Japanese art scene. Now with the market in the doldrums, Kusama’s energy may once more cause an explosion.

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Psychiatrist

精神醫師

Photo: Masaru Tatsuki

I even feel music from the pulsating repetition of her art.

我從作品如同脈搏的反覆當中感受到音樂。脈動的な反復から、音楽をも感じる。

Ryuichi Sakamoto

坂本龍一

Musician

音樂家

一九五二年生於東京。一九七八年與細野晴臣、高橋幸宏組成「YMO88」，同時也展開自己獨自的演出活動，活躍於國際。近年來也參與「More Trees89」等等和環境議題相關的活動。

Ryuichi Sakamoto was born in Tokyo in 1952. Along with Haruomi Hosono and Yukihiro Takahashi, they formed Yellow Magic Orchestra (a.k.a.YMO) in 1978. He simultaneously advanced his solo career, and became internationally reknown. Recently he is environmentally active, starting projects such as “more trees.”

一九六○年代當時我還在讀高中，瀏覽藝術雜誌的時候第一次看到草間小姐的名字。雖然當時新宿也很流行「乍現」，不過現在回想起來，引發的衝擊沒有草間小姐前往紐約等地進行的活動那麼大。接下來我是透過彼得•蓋布瑞爾 90 九○年代出的單曲《Lovetown》看到草間小姐的名字。當我打開CD封套的時候覺得很不可思議，心想：英國當代搖滾歌手為什麼會採用六○年代日本女性藝術家的作品？進入二十一世紀之後，我在倫敦遇到一個和草間小姐碰面的機會。那次是她個展開幕，草間小姐坐在臨時架設像帳篷一樣的畫廊深處，不知為何身旁很空，沒有人接近和她說話。我毫不遲疑就坐在草間小姐身邊自我介紹。草間小姐的反應好像她原本就已經認識我，而且開始用一種對老朋友說悄悄話的口吻跟我聊天。她的聲音像少女一樣非常年輕，讓我覺得有點不好意思。二○○六年我經手參與一本不定期雜誌《色色的事》（エロコト），決定封面一定要拜託草間小姐畫。草間小姐馬上就了解我想要表達的主旨，畫出一張完美的封面。那是一張和六○年代紐約乍現有著相同味道的線畫素描。她的作品「極簡又華麗」。在她脈動的風格當中，我感受到音樂。

http://www.sitesakamoto.com/

我最喜歡的作品是「無限的網」系列。這張《天之河》（一九九一∼九二年）讓人聯想到植物的根莖。

My favorite works are the “Inﬁnity Net” series. This is The Milky Way (1991-92), which brings to mind the roots and stems of plants.

I first came across Ms. Kusama’s name while flipping through an art magazine when I was a high school student in the sixties. At the time “happenings” were fads even in Shinjuku (Tokyo), but looking back now, I supposed they did not have the same impact as Ms. Kusama’s activities in New York. The next time I encountered her name was through Peter Gabriel’s single Lovetown, which was released in the nineties. As I opened the CD jacket, I was curious as to why a contemporary English rock singer was using the work of a Japanese female artist from the sixties. Then, after entering the new century, I got a chance to meet Ms. Kusama in London. It was at the opening of her solo exhibition, and at the back of a temporarily erected tentlike gallery sat Ms. Kusama. For some unknown reason, there was empty space surrounding her; nobody was approaching her. I unhesitatingly went and sat next to Ms. Kusama and introduced myself. Ms. Kusama responded as if she already knew me and started whispering to me as if she were chatting to an old friend. Her voice sounded like a young girl’s, almost tickling my ear. In 2006, when I was turning my hand to Erokoto a nonperiodic magazine, I was determined to ask Ms. Kusama to do the cover. She instantly understood the principle message and drew me a picture that made the perfect cover for it. The drawing had the same atmosphere as one of her New York happenings of the sixties. Her work is minimal but exuberant. I feel the music in her pulsative work.

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草間彌生小姐的世界是一種「清醒之際的夢境妄想」。讓人感覺到一種藝術家的精神，即使她已經累積各式各樣的人生經歷，還是不想脫離孩提時代纖細的自我。如

芙蘭索瓦果要用一句話來描述她的藝術創作，那就是「既可愛又妄想。」作品帶著成人的可愛、確實的技巧與精準的掌控。這應該是她身上的日本特質。草間彌生的另外一個

莫雷香 • 特徵是無論大人小孩都很喜歡她的作品。我第一次實際看到她的作品，是二○○四年在她森美術館 92 的個展「Kusamatrix」展場上。那是一個極其

Françoise Moréchand 夢幻又美麗的世界。色彩鮮明的圓點將我包圍，讓我產生一種愛麗絲夢遊仙境的感覺，甚至依依不捨不想離開。她和作品融合到讓人分不清楚究竟是她像作品呢？還是作品像她？這是我的困惑。或許，在這些作品內在深處還隱藏了另外一個熾熱的妄想，連她自己都不敢看。

生於法國，一九五八年首度前往日本，擔任法文講師，以及香奈兒的美容部長。並以隨筆作家的身分出版許多著作。也擔任金澤21世紀美術館 91 的顧問。

Born in France. Came to Japan for the first time in 1958. Has worked as French language teacher and Director of Chanel Cosmetics Division. Has published many books as an essayist. Also is advisor When Nobuyoshi Araki and Yayoi Kusama for 21st Century Museum of Contemporary Art, Kanazawa.

我印象最深的是「Kusamatrix」展的《圓點妄想》（水玉強迫）。牆上的鏡面讓紅白作品看起來無限延伸。

Most impressive was Dots Obsession in the “KUSAMATRIX” exhibition. The mirrored walls made the red and white work look infinite.

The world of Yayoi Kusama is like the delusion of a dream while being awake. I feel the spirit of an artist who is unwilling to move away from her sensitive childhood self, even after accumulating diverse life experiences. To express her art with one phrase, I would call it “cute, delusional art.” It has an adult cuteness with sure technique and perfect control. I think that this aspect of her work is very Japanese. The art has the special quality of looking adorable to both adults and children. The first time I actually saw her work was at her 2004 solo exhibition “KUSAMATRIX” held at the Mori Art Museum. It was a dreamlike and extremely aesthetic world. Surrounded by festively colored dots, I felt like Alice in Wonderland and I didn’t want to leave. My one uncertainty is that she and her work melt together to the point where it is difficult to articulate whether she resembles her work, or her work resembles her. I feel that in the depths behind her work hides one more fervent delusion that even she refuses to see.

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Fashion Essayist

時尚隨筆作家

二○○五年荒木經惟 94 和草間彌生合作發表作品的時候，我在會場第一次見到草間小姐，覺得她的氣質相當

町田康特別。我最早聽到她的名字是在二十二歲的時候。當時和朋友一起去書店，朋友拿了一本草間小姐的書，告訴我說：「我覺得這傢伙很可怕。」看過草間小姐的作品之後，會有一種「開始═結束═

Kou Machida 開始」的感覺。會讓我想到《你消融在螢火群舞之中》（蛍の群舞の中に消滅するあなた。）這件展示在森美術館的巨大作品，好像被它的光芒包圍。我最喜歡的作品是〈奮鬥之後想要死在宇宙盡頭〉，簡直就像「阿門」這個字一樣。我想要把下面這段話送給草間小姐：「『我』在有限之海發光。張望、身處內心的盡頭，於世界深深的角落。輪軸迴轉不停，緩緩轉動，激烈飛旋。因為沒有起點也沒有結束，因此它是無限，它不存在。我一邊接受詛咒一邊蒙受祝福，因為觀看與被看之

Born in Osaka, 1 9 6 2. In addition to being a musician he published a poetry collection Kuge. Debuted as novelist in 1 9 9 6 with Kussun Daikoku. Received 1 2 3rd Akutagawa Prize for Shreds in 2000.

間並沒有界線。因為我已自由。」

一九六二年生於大阪府。從事音樂活動同時，於九二年發表詩集《獻花》。九六年以小說處女作《楠木的大黑》（くっすん大黒）跨入文壇。二○○○年以《破碎》（きれぎれ）獲第123屆芥川獎 93。

我先前看過「Kusamatrix」展，覺得非常感動。讀

Novelist

小說家

完草間自傳《無限的網》之後更是讓我對她感興趣。草間彌生將自己所體驗的創作掙扎，以及所有涉及人生喜

相川七瀨悅與悲傷的情緒全部都轉化成圓點。單單盯著她創造的那些『宇宙造型』，就會讓我覺得很放鬆，好像獲得寬恕。我在擔任歌手和詞曲創作者的時候，會感受到創作的

Nanase Aikawa 煎熬和煩惱。明明投入自己喜歡的事情創作歌曲應該很有趣，可是面對外界對於一個藝術家的要求抑或是自己顯露某些普遍性，我也會感到害怕。當我懷抱著強烈的寂寞─那是遭受許多觀眾和粉絲包圍的另一面─看到草間彌生的作品，會產生一種心情：「自己在做的事情並沒有錯，再多努力試試看吧。」就這層意義上，草間彌生這位藝術家毫無疑問對我的作品與人生產生影響。

一九九五年以《無法當個天真的少女》（夢見る少女じゃいられない）出道。 CD銷售量突破一千兩百萬張。除了音樂活動之外還出版小說《DAHLIA》（ダリア），不停拓展活動範圍。

She debuted with “ Yume Miru Shoujo ja Irarenai” in 1 9 9 5. Her cumulative sales have exceeded 12 million CDs. Her scope of activities is broad, and outside music, she has written a novel titled “DAHLIA.”

When Nobuyoshi Araki and Yayoi Kusama announced a colla-borative work in 2005, I saw Ms. Kusama in person for the first time. I remember thinking that she had this unique vibe to her. I was 22 when I first encountered her name. I was visiting a book store with a friend and my friend picked up her book and said “I find this person scary.” When I view Ms. Kusama’s work, I feel “beginning = ending = beginning.” I thought this when Iwas engulfed with the lights of the gigantic work You Who are Getting Obliterated in the Dancing Swarm of Fireflies exhibited at the Mori Art Museum. My favorite work is After the Battle, I Want to Die at the End of the Universe. Amen, so say I. To Ms. Kusama, I offer these words. “Shining in the finite sea, ‘I’ look at, and reside with, the far reaches of the heart in the depths of the world. The wheel endlessly turns, sometimes gradually, sometimes fiercely— always unfalterin-gly. Because there is no beginning and no end, it is infinite and does not exist. I am both cursed and blessed for there is no parti-tion between the one seeing and the one to be seen. So I am already free.”

《我喜歡自己》（INFAS Publications）。我最喜歡這本書收錄的〈奮鬥之後想要死在宇宙盡頭〉這首詩。

Favorite work is the poem After the Battle, I Want to Die at the End of the Universe included in tions).

“ I Like Myself ” (INFAS Publica-

Special exhibition at the Audi Forum at the end of 2009. The polkadot Audi R8 was “so cool.”

I saw “KUSAMATRIX” and was very moved by the work. I then read her book “Infinity Nets,” which further piqued my interest. Ms. Kusama takes all emotions relating to life’s joy and sorrow, along with a sense of the toil involved in the art of creation, and reduces them to dots. Just by looking at the ‘shapes of the universe’ that she produces, I feel relieved and forgiven. In my activities as a singer songwriter, I have experienced the toil and anguish of creative endeavor. Although it should be enjoyable to immerse oneself in an activity that one loves and create songs, I sometimes feel fear towards what is expected externally as an artist or towards revealing something universal. So when I view Ms. Kusama’s work while experiencing this sense of immense isolation as a sort of flip side to being surrounded by a huge audience and fan following, I feel a reassuring message of “you’re not making a mistake with what you are doing. Keep it up!” This is why the artist who has made a big impact on my work and life is without a doubt Yayoi Kusama.

二○ ○九年底奧迪展示空間（Audi Forum）的特展。圖中奧迪R8上的圓點實在酷到不行。

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Musician

音樂家

每次碰到草間小姐，不知為何我一定會坐在她身邊跟她聊很多話。雖然總是在宴會場所這類人潮眾多的空間遇到，可是我可能可以接收到草間小姐的訊息，不用交談單靠視線就知道她說：「過來我這假使要用一句話來說明草間彌生的作品，我想應

邊。」

日比野克彥該是「誕生的能量」。她所有的創作表現都是直接轉其中我最喜歡的作品是《宇宙之心》。這是熊本市

譯自人類的情緒。當代藝術館 95 納入館藏的一間鏡屋。雖然這件作品設置在館內比較難發現的位置，不過當你找到作品

Katsuhiko Hibino 生的作品大多存在感很強，不過這件作品是故意設

窺探內部，你就會立刻感受到草間的能量。草間彌計要隱藏自己的存在，讓我特別印象深刻。

藝術家

For some reason, whenever I meet Ms. Kusama, I end up sitting alongside her and talking about all sorts of things. We often meet at party functions and the like where the space

Artist

當人被安置到徹底的黑暗中，會將雙手向左右盡可能延伸出去，探索自己與環境的關係。創作者也是一樣，必須經歷這種無可避免的探尋自我的過

佐藤卓「我是透過持續創造作品這個活動來確定自己的

程，才能夠創造出作品。

隨著創作者不同答案都不一樣，不過就草間彌生來

存在？還是為了確認自己的存在而創造一件作品？」

Taku Satoh 看到她的作品，會讓我思考到這件事：「設計源於

說，她是和自己與生俱來的身體對抗才創作出作品。

不久之前草間的作品還沒有被完全理解，甚至招

外在，藝術則出自於內在。」致一些誤會。然而現在則是強烈吸引大眾，沒有任間小姐的作品才是真正的藝術。

何其他人可以介入。我認為膚淺藝術四處氾濫，草

When people are placed in complete darkness, they extend both arms out to the left and right and search for a relationship between themselves and the environment. Likewise,

Graphic designe

平面設計師搞笑藝人、演員

片桐仁髮，目光銳利，簡直像是「神明顯靈」。因為我覺得

一隻有在工作的手。我很喜歡她為手機設計的「小

當我實際和她握手的時候，她的手相當溫暖，是

極致，讓我不禁想要高呼「萬歲！」

她是一個傳說般的人物，她的評論與人生都燃燒到

會上。草間小姐穿著黃底黑班的圓點洋裝，一頭橘

我第一次遇見草間小姐，是在手機「iida」發表

孩」和「狗」，不過和我一起去的兒子（五歲）卻很害

Jin Katagiri 我喜歡草間小姐的平面作品，不過立體作品更有

怕……

袋裡面「咚！」一聲受到衝擊。我聽說那座南瓜有一

震撼性。我在直島看到那座巨大黃色南瓜的時候腦次被颱風吹到海裡面，如果它就這樣順著海浪漂流到某個國家，那個國家的人民不知道會怎麼想？

I ﬁrst met Ms. Kusama when I attended the launch of the mobile phone “iida.” Dressed in a yellow one-piece with black polka dots and donning orange hair Ms. Kusama, with her

Comedian, Acto

我認為草間小姐的作品是一種象徵性的作品，將情緒、物質以及一切都容納其中。她的作品囊括所我是在巴黎的獨具藝廊 96 實際看到她的作品。見

有相對性的事物，就像宇宙一樣。

梶谷好孝

我自己小時候腦袋裡會玩一種想像遊戲，想像

到她本人的時候，感覺她簡直就像是少女一樣。

當我持續一直玩下去，我自己就會變成一個小小的

自己到底可以在這個宇宙畫出多大的文字和圖案。點，最後消失。當我看到草間彌生的「自我消融」作我很尊敬草間彌生小姐直到今天都還不停持續創

品系列，就馬上想起我以前玩的這個遊戲。

Yoshiko Kajitani 造的新作品。

作。今後也很期待草間小姐不停進化發展之後所創

I think Ms. Kusama’s work is symbolic work that encapsulates emotion, matter and everything else. Encompassing all things that are relative to one another, her works are truly like the universe itself.

is crowded with many people, but it might be that I am able to receive the message from Ms. Kusama of “come and sit here” without any exchange of words, just by catching each other’s eyes. As a phrase to express Ms. Kusama’s work, I would say, ‘energy of birth.’ All her works’ expressions are direct trans-lations of human emotions. The work I love the most is The Heart of the Universe. It is a mirrored room kept at the Contemporary Art Museum, Kumamoto. While it is located in a rather difficult to find place in the museum, when you do discover the work, you feel the Kusama energy the moment you peer into the room. Although many of her works have a strong presence, this one is particularly impressive on account of the ploy to hide its existence. artists create works through the inevitable and necessary process of probing their self existence. ‘Is it by the continual creation of work that they continue to conﬁrm their self existence, or do they create work to confirm their self existence?’ The answer would vary depending on the artist, but I think in Yayoi Kusama ’ s case, she creates work from her struggle with the body she was born with. When I view her works, it reinforces my belief that “design comes from the other, while art comes from within.” Up until recently, Kusama’s works were not sufﬁciently understood or were even misunderstood. But now, in terms of its powerful appeal to a wide audience, none other comes close. Amidst an inundation of superficial art, I think Ms. Kusama’s works are truly art.

penetrating eyes, was truly a ‘living goddess.’ I was thinking to myself she was a legend, her comments and her life were blazing supremely and I had this urge to yell “ Yayoi Kusama Forever!” When I shook her hand, it was so warm, so much the hand of a creative inventress. I really loved the appearance of the child and the dog, but my five-year-old son, who was with me, was frightened by it. I like her two-dimensional work, but I think it is the three-dimensional work that has impact. When I saw the giant yellow pumpkin object at Naoshima, in impacted like a “DONG!” inside my head. I heard that it once got carried out into the ocean in a typhoon. I wonder, if it got carried off by the ocean and it arrived at the coastline of some other country, what would the people there make of it? I had the opportunity to see her works at the Galerie Piece Unique in Paris. When I met her in person, I was struck by how much she was like a young girl. As a child, I used to play an imagination game where I would see how big I could draw letters and pictures in the universe. As I continued playing this game, I myself would become a tiny dot and finally vanish. When I look at Ms. Kusama’s “Self Obliteration” series, I am reminded of that game all those years ago. I have heart-felt admiration for Ms. Kusama who has endlessly continued her creative activities up until now. I am also looking forward to seeing new work by the constantly evolving Ms. Kusama.

一九五八年生於崎阜縣。就讀東京藝術大學的時候就以紙箱作品引起關注。他也參與公共藝術或是舞台設計等等多方面的創作。近年來還舉辦開放一般民眾參加的工作坊。

Born in Gifu Prefecture in 1958. He attracted public attention for his cardboard works during and after his student days at Tokyo University of the Arts. He is active in diverse fields including public art and stage art. He recently has been conducting workshops open to public participation.

一九五五年生於東京。任職電通之後，於八四年獨立設立佐藤卓設計事務所。他以平面設計為主，延伸參與到企業識別以及教育電視節目的美術指導。

Born in Tokyo, 1955. After working at Dentsu, established Taku Satoh Design Ofﬁce. Mostly active in graphic design but also turns hand to art direction for Corporate CI and educational TV programs. http://www.tsdo.jp/

一九七三年生於崎玉縣。多摩美術大學在學期間和小林賢太郎組成搞笑團體「拉麵男」（ラーメンズ）。他以非常具說服力的表演跨越各個類型，活躍於電視、廣告、以及劇場等等。

Born in Saitama Prefecture, 1973. He formed conte comedy group “ Rahmens ” with Kentaro Kobayashi while at Tama Art University, Tokyo. He has strong performance presence in multiple genres including TV, commercials, and stage.

一九七七年生於千葉縣。九六年前往法國，在高級訂製服設計師門下擔任助手之後，以「Yoshiko CREATION」自立品牌。持續發表前衛的珠寶設計。

Born in Chiba Prefecture, 1 9 7 7. She moved to France in 1996. After working as an assistant for a couturier, she debuted as “Yoshiko CREATION. ” She continues to produce avant-garde accessory design.

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Jewelry designer

珠寶設計師

第一次和草間彌生碰面是距今大約十年前的事。東京都當代美術館舉辦了一場「身體之夢時尚or看不見的束腹展」，三宅一生 97 先生和草間小姐共同合

吉岡德仁我在這場展覽負責空間設計，讓我有機會可以和

作，從管狀的針織布料裁出新的服裝造型進行展示。

作帶有強烈使命感的姿態印象深刻。

草間小姐直接碰面。我對她那種非常真誠、對於創假使要選一個字來描述草間彌生的作品，我會和她自己本人選一樣的字：「無限。」我最喜歡的作品之一是一九六○年代發表的一張白色圓點的畫。當我看著那無限延續的白色圓點（或網），會感覺到一

Tokujin Yoshioka 種言語無法形容的美麗與壯闊。

It would have been about ten years ago when I first met Ms. Kusama. It was at the exhibition “Visions of the Body: Fashion or Invisible Corset” at the Museum of Contemporary Art, Tokyo. She was collaborating with Issey Miyake with an exhibit of revealing new crea-

Designer

設計師

一九九四年長野縣的信濃美術館 98 舉辦「草間彌生展」，我被展出的作品深深吸引。其中印象特別深

穗積恆前所未見的力量，當我看到這件作品，馬上就被它

刻的有《黃樹》和《大地盡頭的光》。前者蘊含著一種壓倒性的能量征服。後者則顯現出她的天才，漂亮草間彌生的作品可以說是「將宇宙本身的能量具

地將宇宙本身的神祕感濃縮進一個狹小的空間。象化」。我將她的網看作是永恆連續的能源鏈結，圓我從十五年前就開始持續收集她的作品，未來希望

點則是宇宙中的星球或者是構成自然世界的分子。可以在秋田縣內設立一間以草間作品為主要館藏的

Hisashi Hozumi 小姐前來剪綵。

當代藝術館。我強烈希望開幕的時候能夠邀請草間

In 1994, I was powerfully enchanted by the works shown at the ‘Yayoi Kusama’ exhibition held at the Shinano Art Museum in Nagano Prefecture. The works that left a particularly deep impression were Yellow Tree and Light

tions from tubular knit fabric. I was undertaking the space design, which gave me the chance to meet Ms. Kusama in person. I was impressed by how she approached the creation process with immense sincerity and a strong sense of mission. To choose a phrase to describe Ms. Kusama’s work, I would use the same term that she uses: “infinity.” One of the works that I like the best would be a white dot painting that was exhibited in the sixties. When I look at the white dots (or net), I am left speechless, overwhelmed by the beauty and the grandeur of the work.

from the horizon. When I first saw the former, it held a power I had never before encountered and I felt like I was being crushed by its overwhelming energy. I think the latter shows her genius of remarkably condensing the wonder of the universe into a small space. I would describe Ms. Kusama’s works as “the materialization of the energy possessed by the universe. ” I see her nets as the chain links of energy continuing to eternity and her dots as the molecules that compose the natural world and stars in the universe. I have been collecting her works for fifteen years, and in the future, I plan to open a contemporary art museum in Akita Prefecture with Yayoi Kusama’s works as the main collection. It is my strong wish that Ms. Kusama cuts the tape at the museum’s opening.

走訪日本的藝術據點參觀傑作。 ─ 傑作に出合える、日本のアート・スポット。 ─

Art spots to encounter masterpieces in Japan. ─

一九六七年生於佐賀縣。二○○九年負責監製卡地亞在東京國立博物館舉辦的展覽，創下該館史上最高的動員人數紀錄。

Born in Saga Prefecture, 1967. He was involved in the direction of Cartier exhibition at the Tokyo National Museum in 2 0 0 9, which drew a record crowd to the museum. http://www.tokujin.com/

生於秋田縣。外旭川醫院院長。外旭川是秋田第一家設有安寧病房的醫院。穗積先生積極在院內推動「藝術計畫」以安撫大家的心寧。同時也是知名的草間彌生收藏家。

Born in Akita Prefecture. Director of Sotoasahikawa Hospital, which was a pioneer in establishing hospice wards in Akita. He positively promotes “Art Project” which places art work in his hospitals to heal the spirit. He is well-known as a collector of Kusama’s works.

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Physician

醫師

幻之花二○○二年│複合媒材

1,057×1,830×1,625cm│ 松本市美術館 ─ 這座華麗的戶外雕塑作品在室外迎接參觀來賓。威嚴的鬱金香生命飽滿，非常符合宇宙這個形容詞。這座鬱金香是草間所有作品當中最大的一件。

The Visionary Flowers 2002│Mixed media 1,057×1,830×1,625cm│ Matsumoto City Museum of Art ─

This spectacular environmental sculpture greets visitors. The brimming life force of the majestic tulips are best described as cosmic. These tulips are the biggest of all Kusama’s works.

Substantial permanent exhibition draws you into the artist’s spirit. 松本市是草間彌生的故鄉，草間彌生將一九五七年遠赴美國之前的作品交付給松本市美術館 99 收藏。常設展引用其中一件藏品的名稱命名為「靈魂的安身之處」（魂のおきどころ）。內容極其充實，包含巨大的戶外雕刻《幻之花》（幻の華）、寬度超過十公尺的繪畫《Pink Dots》（ピンク•ドッツ）、圓點突起物和自畫像延綿不絕的《鏡之道》（鏡の通路）、紅色圓點綴滿房間的《自我消融》（自己消滅）等等。每件作品都以門做間隔，展示架構設計成讓你參觀的時候可以一件一件面對作品。策展人澀田見彰表示：「每次打開一扇門，都會走進新的世界。漸漸走進創作者的靈魂當中。」二○○九年，館方擴大常設展的規模舉辦一個特別企畫展，進行了一場從「南瓜」系列作品開始的視覺盛宴。壓軸在於最後的展間。「愛會長長久久」全系列五十幅畫作首度在同一個房間展示。你可以聽見草間高呼「愛會長長久久」的聲音迴盪在畫面每一個角落，這個尾聲溫柔撫慰了觀眾的靈魂。長野縣松本市中央4-2-22 電話：0263-39-7400 開放：9:00–17:00 休館：周一（逢國定假日則補休一天）門票：一般 ¥400（常設展）

4-2-22 Chuo, Matsumoto City, Nagano Prefecture TEL: 0623-39-7400 OPEN: 9:00–17:00 CLOSED: Mondays (or next workday if public holiday) ADMISSION: ¥400 adult

http://www.city.matsumoto.nagano.jp/artmuse

The 50-canvas silkscreen series Love Forever (2004–07) completely covers the walls. At the center of the room is Infinity Soul (See page 76.)

Because Matsumoto City is her hometown, Yayoi Kusama has entrusted the Matsumoto City Museum of Art with her works that were created before she left for the U.S. in 1957. The permanent exhibition that has been named “The Place for My Soul” after one of the works in the collection boasts a substantial number of works including The Visionary Flower, a giant environmental sculpture, Pink Dots, a painting that is more than 10 meters wide, Corridor of Mirrors, showing the endless extension of polka-dot protrusions together with the viewer’s image, and Self Obliteration, a room inlayed with red polka dots. Each work is separated by a door. In describing this exhibition’s layout whereby you confront each work one by one as you proceed through the exhibition, Curator Akira Shibutami says, “With each door you open, you enter a new world. Gradually you enter into the artist’s spirit.” In 2009, a special exhibition was held in which this permanent exhibition was expanded. In addition to the exhibition being like show of spectacles beginning with the “Pumpkin” series, the highlight was the last room. In the final room, all fifty canvases of the series “Love Forever” were presented for the first time in one room. You could hear Kusama’s chant of “love forever” reverberating from every place of every canvas. It was an ending that gently touched the souls of the viewers. 二○○九年特別企畫展當中，將「愛會長長久久」（二○○四∼○七年）全部五十件絹版印刷作品掛滿所有牆面。房間中央則是《無限之魂》（○九年，參見第76頁）

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Matsumoto City Museum of Art

松本市美術館

充實的常設展引領你走進創作者的靈魂。充実の常設展示で、作家の精神へと入り込む。

Inﬁnity Mirrored Room─信濃之燈二○○一年│複合媒材

240×144.4×144.4cm│ 松本市美術館 ─ 一個鏡箱擺設在一間鏡屋的中央。窺探箱子裡面，就會看到各種顏色的燈泡交相閃爍增生影像。自從一九六六年「草間彌生的窺探秀」之後，草間就很喜歡用燈泡來創作。

Inﬁnity Mirrored Room— Glowing Lights in Shinano 2001│Mixed media 240×144.4×144.4cm│ Matsumoto City Museum of Art ─

A mirror box located in the center of a mirrored room. When you look inside, various colored lamps flash and this image is propagated. Since “Kusama’s Peep Show” in 1996, Kusama has enjoyed creating works with decorative illumination.

觀眾可以在圓點自動販賣機買飲料，然後坐在圓點長椅上休息。喝完再把罐子或保特瓶丟進圓點回收桶。這個休息區位在美術館商店附近的出入口外面，你千萬不可錯過！

Rest area to buy a drink from the polka-dot vending machine and sit on the polka-dot bench. Then you can put your empty can or PET bottle in the polka-dot recycle bin. Situated at the door close to the museum shop, it is not to be missed!

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二○○九年的特別企畫展中，繪畫作品《殘夢》（一九四九年）前面的地上設置了《紅色地平線》（一九八○年）。這是草間的構想，其他展場做作過相同的展示。

During the special exhibition in 2009, Red Horizon (1980) was placed on the floor in front of painting Lingering Dream (1949). It was exhibited likewise at other museums at Kusama’s suggestion.

鏡之道一九九六年│複合媒材作者自藏 ─ 這座華麗的戶外雕塑作品在室外迎接參觀來賓。威嚴的鬱金香生命飽滿，非常符合宇宙這個形容詞。這座鬱金香是草間所有作品當中最大的一件。

─

Mirrored Corridor 1996│Mixed media Collection of the artist

Mirrors are affixed to both sides of the red corridor. The white polka-dot protrusions on the red background appear like a wide expansive field. The viewers enter inside the work so that their own images are also propagated endlessly.

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An irrepressible presence exuded among nature.

在自然中顯現出不可動搖的存在感。自然の中で発揮される、揺るぎない存在感。貝樂生直島藝術園區ベネッセアートサイト直島 100

瀨戶內海的直島設有許許多多創作者的戶外作品，其中大家最熟悉的，就是草間彌生的《南瓜》。作品設於細長海灘約莫中央的棧橋上，大家可以伴著潮水的聲響一同欣賞。鮮明的黃底綴上黑色圓點，與蔚藍的海洋和天空恰成對比。這顆南瓜即使安置在自然環境之中，還是顯現出不可動搖的存在感。對於草間來說南瓜是很重要的主題之一，經常出現在她的作品當中。自傳《無限的網》曾經描寫過她的理由：「南瓜這形狀最吸引我的地方是它胖胖不加矯飾的

Benesse House Gotanji, Naoshima, Kagawa-gun, Kagawa Prefecture TEL: 087-892-3223 *Pumpkin can be viewed at any time. Also, Red Pumpkin (2006) has been installed near Marine Station Naoshima (2249-40 Naoshima, Kagawa).

外型，還有它頑強的精神力。」

香川縣香川郡直島町琴彈地貝樂生之家電話：087-892-3223 ※《南瓜》是戶外作品，隨時都可以參觀。此外，海邊的交通站「直島站」（香川縣香川郡直島町2249-40）附近也有設置《紅南瓜》（二○○六年）。

http://www.benesse-artsite.jp/

南瓜一九九四∼二○○四年│複合媒材

250×250cm

Pumpkin 1994-2004│Mixced media 250×250cm

In the Seto Inland Sea, Naoshima is the home to outdoor art works by various artists. The most familiar of these is Kusama’s Pumpkin. Located on the pier which is in the middle of the beach, it can be gazed with the sound of breaking waves. The black dots from vivid yellow strikingly contrasts against the blue sea and sky. Surrounded by nature, this “pumpkin” exudes irrepressible presence. One of the important motifs for Kusama, the pumpkin repeatedly appears on her works. In her memoirs Infinity Nets, Kusama explains why. “The creative interest that pumpkin has inspired me was its magnanimous plain features along with its brave spiritual power.”

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Benesse Art Site Naoshima

Endlessly expanding like a kaleidoscope, the weird space is totally labyrinthine

迷宮般的異空間像萬花筒那樣無限延展。万華鏡のように無限に広がる、迷宮のような異空間。

原美術館ハラミュージアムアーク 101

大部分的人跨進這間房間的時候都會發出感嘆，因為牆壁、天花板、地板全部都是一片黃色，無限的圓點在上面增生。大家可以體驗到一種徘徊在迷宮裡面的感覺。房間中央設置了一個單邊邊長兩公尺包覆鏡子的立方體。大家可以透過方塊上的小洞窺探更驚人的景象。方塊內側六面也全部包覆鏡子，南瓜像萬花筒那樣無限折射延伸。這是草間一九九三年擔任威尼斯雙年展日本館代表的時候所推出的裝置作品。起初沒有預定要展示這件作品，然而草間對審查委員建畠晢表示「這件作品才是我的代表作」，最後才決定到海外展出。群馬縣澀川市金井2855-1 電話：0279-24-6585 開放：9:30-16:30 （開放入場至閉館前30分）休館：冬季休館至3月19日門票：一般 ¥1,000 ※開館時間可能會有所變動。參觀之前請務必確認。

2855-1 Kanai Shibukawa City, Gunma Prefecture TEL: 0279 24 6585 OPEN: 9:30-16:30 (museum entry permitted until 30 min before closing) CLOSED: Museum closed during winter until March 19 ADMISSION: ¥1,000 adult * The museum’s opening dates and times may change. Check with the museum before visiting.

http://www.haramuseum.or.jp/

鏡屋（南瓜）一九九一年│複合媒材

200×200×200cm

Mirror Room (Pumpkin) 1991│Mixced media 200×200×200cm

A majority of visitors voice a startled cry as they enter the room. It is a natural reaction to the endless polka dots propagating in yellow in all directions—walls, ceiling and floor. It offers an experience akin to wandering a labyrinth. A mirrored cube of two-meter dimensions stands in the center of the room, into which one can peer into a small window to see further surprises—a kaleidoscopic infinite expanse of pumpkin objects reflected in all six mirrored inner surfaces. This installation was the exhibit at the 1993 Venice Biennale when Kusama was the exhibitor for the Japanese Pavilion. Initially there were no plans for an exhibition but Kusama asserted to Commissioner Akira Tatehata that this work was “her masterpiece” and it was decided that she would go.

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Hara Museum ARC

攝影：上野則宏 Photo: Norihiro Ueno

Spectacularly colored giant plants and a glamorous high heel.

色彩濃烈的巨大植物和華麗的高跟鞋。鮮烈なカラーの巨大植物と、あでやかなハイヒール。霧島藝術之森霧島アートの森 102

香格里拉之花二○○○年│ 玻璃纖維強化水泥敷以聚氨酯塗料

370×840×640cm

Flowers of Shangri-La 2000│Urethane-coated G.R.C. (glass-ﬁber reinforced concrete) 370×840×640cm

「霧島藝術之森」在廣闊的基地上布置了許多戶外作品。在這裡你最先注意到的就是《香格里拉之花》（シャンゲリラの華）。它濃烈的配色與高達六•五公尺的巨大尺寸都讓人瞠目結舌。這件虛構的植物雕塑對著藍天伸展花葉，真的是相當自由奔放。此外，草間彌生還有另外一件作品常態展示於這裡。那就是在中庭安置的《紅鞋子》（赤い靴）。這隻高跟鞋妝點上華麗的原色和圓點，尺寸也相當大。紅鞋在這無

2220, Koba 6340, Yusui-cho, Aira-gun, Kagoshima Prefecture TEL: 0995-74-5945 OPEN: 9:00 –17:00 CLOSED: Mondays, Dec 29-Jan 2 ADMISSION: ¥300 adult *Closed from third Monday to fourth Monday in February.

機的空間當中扮演了一種調劑氣氛的重要角色。鹿兒島縣姶良郡湧水町木場6340番地220 電話：0995-74-5945 開放：9點∼17點休館：周一與十二月二十九日∼一月二日門票：一般 ¥300 ※2月第3個周一∼第4個周一公休

http://open-air-museum.org

Red shoe 2002│Urethane-coated F.R.P. (Fiber Reinforced Plastics) 255×430×173cm

At the Kirishima Open-Air Museum, whose large grounds are filled numerous open-air works, the work that your eyes leap to first is “Flowers of Shangri-La.” Mesmerized by the spectacular combination of color, you stand agape at the gigantic size of the 6.5-meter-high work. The way the leaves and flowers of this phantasmal plant sculpture reach into the sky is truly liberating and uninhibited. Another Kusama work on permanent display at the museum is High Heel (or Red Shoe), which sits in the courtyard inside the building. This high heel, adorned in glamorous primary colors and polka dots, is also a work of huge scale. The red shoe fulfills the important role of providing a kind of spice to an inorganic space.

紅鞋子二○○二年│ 玻璃纖維強化水泥敷以聚氨酯塗料

255×430×173cm

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Kirishima Open-Air Museum

Pop merchandise that are all irresistible.

流行商品每件都讓人很想要。ポップなグッズは、どれも欲しくなる。

現身於日常空間的特別南瓜 ─ 價格實惠的《南瓜》軟雕塑作品。特殊的造型吸引你不知不覺想要去碰它。右：¥16,800，左：¥7,140 lamm-fromm the Concept Store

Photo: Yasunori Shimomura

六件式沙發組將你的房間轉變成草間世界 ─ 這個六件式沙發商品組以草間作品《星》為主題製作，包含長椅、凳子和邊桌。

Create a Kusama world in your living room with six-piece

¥1,680,000（訂購生產） gm projects

“Balloons”of mass appeal offer-

lounge set ─

cept Store

造型大眾化的《氣球》在日常生活中是相當顯眼的輕藝術 ─ 這個商品是以二○○四年「Kusamatrix」展出的裝置作品為原形，非常適合作為房間擺設。長度大約是50cm。單件¥8,400 lammfromm the Con-

ing everyday light-weight art ─ This six-piece lounge sofa set includes, bench, stools and side table. A motif of celestial objects is used throughout the furniture from her work Star. ¥1,680,000 (order made). / gm projects

Photo: Yasunori Shimomura

21×39×17.5cm│¥3,150 Roppongi Hills Art & Design Store

Designed with a flower sculpture motif, this tote bag is very practical with a deep bottom gusset and lots of pockets. Available in black or white.

Wonderfully functional“ FLOWERS THAT BLOOM AT MIDNIGHT” tote bag for everyday use ─

21×39×17.5cm│¥3,150 六本木之丘 Art & Design Store

《午夜盛開的花》托特包極其實用每天都想帶出門 ─ 這件商品以花的雕塑為主題製作。袋底很深，又附加許多內袋，相當實用。

This merchandised product based on an installation work of 2004 exhibition “ KUSAMATRIX ” makes an ideal room object. Length approx. 5 0 cm. ¥8,4 0 0 each. / lammfromm the Concept Store

獨特的雙人沙發讓你天天體驗《黃樹》這座個性十足的雙人沙發以繪畫代表作之一《黃樹》為主題。強烈的存在感可以改變房間的氣氛。W1605×D750× H669mm。¥735,000（訂購生產） gm projects ─ Special two-person sofa to feel Yellow Tree forever

Unique two-person sofa with the motif of Yellow Tree, one of Kusama’ s most famous paintings. Its presence will change the vibe of the room. W1 6 0 5×D7 5 0×H6 6 9 mm. ¥735,000 (order made). / gm projects

用徽章表達草間的主張將草間彌生的標語主張「LOVE FOR-

EVER」作成徽章。直徑53mm、直徑20mm兩種 ¥525（大），¥210（小）松本市美術館商店 ─ Badge proclaiming s slogan Kusama’

Unique pumpkin to decorate everyday space ─

This badge bearing Yayoi Kusama’s slogan “LOVE FOR-EVER”.

這是忠實再現草間圓點的大理石巧克力。也有紅白版本的經典款。吃完之後的容器也可以當成小盒子使用。

心型陶器裡面的圓點可以吃。

comes in two sizes: 53 mm and 20 mm diameter ¥525 (L) ¥210 (S) Museum Shop, Matsumoto City Museum of Art

Reasonably sized soft-sculpture “Pumpkin.” Its unique form allures one to touch it. Right: ¥16,800, Left: ¥7,140 lammfromm the Concept Store

¥3,360 表參道之丘 S and O ─ Edible dots in heart-shaped box Marble chocolate reproduced faithfully as Kusma dots. Symbolic red-and-white version is also available. After contents are digested, the box can be used to store small items. ¥3,360. Omotesando Hills S and O

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觸感渾厚的變型南瓜明信片這是將圓點印在毛氈之類的材料上所製作出來的《跳舞南瓜》。

14x19.5cm│¥472 六本木之丘Art & Design Store ─ Post card of irregularly shaped pumpkin made with felt-like touch “DANCING PUMPKIN” post cards with dots printed on felt-like material. Available in yellow, red and white.

14×19.5cm│¥472 Roppongi Hills Art & Design Store

可愛蘑菇狀的一體成型椅這把凳子是有機的造型，軟墊部分以草間的作品為設計主題。軟墊也有《黃樹》版。 Φ420×H450mm│¥50,400 gm projects ─ Adorable, totally mushroom-like monolithic form

This stool has an organic form with a motif design from Kusama’s work on the cushion. The cushion with “ Yellow Tree ” motif comes with the product. Dia.420×H450 mm│¥50,400 gm projects

藝術家的足跡魅力長存。カリスマであり続ける、芸術家の足跡。

傾斜的話圖案就會改變充滿玩心的漂浮筆圖案會改變的「Love Forever」粉紅、白這兩款定價¥735。以黃色為軸的「Dancing Pumpkin」¥1050。紅色為軸的「Yayoi Kusama」傾斜之後會顯現出草間的照片。¥1050。表參道之丘 S and O ─

Floating pen offers loads of fun with a picture that changes when tilted Pen with moving drawing. “Love Forever ” available in pink or white. ¥7 3 5. “Dancing Pumpkin” with yellow shaft. ¥1 0 5 0.“Yayoi Kusama” with red shaft in which a photograph of Kusama appears when the pen is tilted. ¥1050.

Omotesando Hills S and O

《Toko-Ton》狗狗散步耐熱玻璃馬克杯這個耐熱玻璃馬克杯上印著草間彌生畫的狗《Toko-Ton》、圓點、還有簽名。也有紅色狗狗《Rin-Rin》的版本。

¥1,470 表參道之丘 S and O ─ Heat-resistant glass mug with dog“Toko-Ton” taking a stroll Heat-resistant glass mug with design of Yayoi Kusama ’ s dog “Toko-Ton,” polka dots, and handwriting including her name. Red dog “Rin-Rin” also available. ¥1,470 Omotesando Hills S and O

代以後，又將自己的表現手法拓展到立體作品、肢體表

Footprints of an endlessly charismatic artist.

假使我們抽掉紐約，草間彌生的故事有一半就沒有辦

演、電影、時尚等等領域。除了增加表現類型之外，草年代後半還跨出畫廊和美術館，在街頭或廣場 ○

峰。越戰陷入僵局，嚮往愛與和平，實踐開放享樂生活

當時整個美國，特別是紐約，正在經歷嬉皮風潮的高

發表作品，逐步拓展發表管道。

間在六

法描述。假使抽掉草間彌生，那就沒有辦法回顧一九六年代群情沸騰的紐約。那個大都會與藝術家連結在一 ○ 歐姬 •

起難以分割。

的協助，獨自前往美國。幾年後她在紐約首度舉辦

一九五七年，草間藉由通信往來的畫家喬治亞芙

的年輕人也迅速增加。草間彌生可以說是這個時代的寵兒。

個展，就獲得藝術圈的廣大好評。這次成功替她引來畫廊與美術館的參展邀約，先是美國各地，接著是歐洲各

現﹂演出。經常舉辦人體彩繪、時尚走秀、雜交派對等

草間以紐約為中心，在美國與歐洲各地積極推展﹁乍

現在紐約在藝術文化方面可以說是世界的中心，然而

等活動，引發媒體騷動。這些﹁乍現﹂牽動時代氛圍，

都市。

當時還不是這樣。當時二戰的烽火席捲歐洲大陸，紐

對於嬉皮文化和思想造成難以估計的影響。

大一層。從八

年代除了藝術創作 ○

彌生的大規模回顧展，就此奠定她的藝術評價。九

年 ○

年代後半開始，日本國內外接二連三舉辦草間 ○

之外，她也活力充沛地發表文學作品。創作世界又再擴

日本，一邊住院一邊進行創作。八

一九七三年，草間終於離開紐約，將活動據點轉移到

約是流亡藝術家與亟待出頭的新人們的新天地。正因如

年 ○

此，新的創作風潮不停萌芽，人們也渴望見到先鋒的表現。

創作活動活力不衰，擴展到所有的領域

草間漸漸在紐約嶄露頭角。起初是畫畫，進入六

208 209

103

代之後，全球化的風潮也掃過藝術場域，我們進入一個

211

到處都在舉辦大型國際展的時代。草間以知名大師的身

一九五七年攝於松本自宅。床上並置著許多圖畫。這陣子草間身上穿的衣服是以祖母的和服腰帶為基礎，由她自己設計。

分至今依舊生龍活虎地活躍在第一線。

In New York, Kusama gradually rose to preeminence. Initially, she was painting pictures, but upon entering the sixties, she expanded her own expression to three dimensional works, performances, film and fashion. It wasn’t just genre that she expanded. Entering the second half of the sixties, Kusama gradually expanded the venues for expressing her art to include not only galleries and art museums, but also streets and open spaces. Also back then, the U.S., particularly New York was experiencing the height of the hippy movement. With the Vietnam War in a quagmire, people were crying out for love and peace, and there was a sudden rise in young people practicing a liberated and pleasure-seeking lifestyle. Then, there was the hero of the times, Yayoi Kusama. Based in New York, Kusama busily held “happenings” in various places in the U.S. and Europe. The events such as body painting, fashion shows and sex orgies that she frequently held created a considerable stir in the mass media. Propelling the mood of the age, these “happenings” had untold influence over hippy culture and thought. Kusama left New York in 1973 and moved the base for her activities to Japan. While being hospitalized, she continued her art. In the eighties, in addition to her art works, she energetically ventured into producing literary works. The world of Kusama’s works expanded a further step. Beginning from the second half of the eighties, large-scale retrospective exhibitions were held one after the other in Japan and overseas and her acclaim became steadfast. Since the nineties, the wave of globalization has swept through the art scene and we have entered an age where large international exhibitions are being held worldwide. As one of the familiar big-name artists of this scene, Kusama still energetically continues to be part of the active vanguard. With endless interest, we wait for the next work of Yayoi Kusama who steadily continues to create with no sign of slowing down.

草間彌生不知老之將至，接二連三發表新作品，我們

Artistic activity spread throughout all domains with unceasing vigor

非常期待看到她未來還會有什麼新發展。︵新川貴詩︶

If you take out New York, it is not possible to tell half of Yayoi Kusama’s story. Moreover, if you take out Yayoi Kusama, it is not possible to reflect back on the brimming civil commotion of New York in the sixties. The city and the artist are that much interwoven. In 1957, through a personal contact with artist Georgia O’keeffe, whom she kept correspondence with, Kusama moved to America. A couple of years later, her first solo exhibition in New York drew immensely positive reception from the art world. Thanks to this success, exhibition offers began streaming in from galleries and art museums all over the U.S. and Europe. Today, New York is recognized as a world center for art and culture. Back then, however, it was a different situation. Then it was a new realm for artists and those in the making who had fled there from the horror of the Second World War that engulfed all of Europe. New movements were burgeoning unstoppably and there was a desire for cutting-edge expression.

At home in Matsumoto in 1957 amongst numerous paintings sprawled over the floor. The clothes seen here were designed by her based on a kimono sash of her grandmother’s.

210

生於長野縣松本市，是種苗批發商的女兒。華爾街金融風暴引發世界大恐慌。

1929

色線畫《無限的網》在當地贏得很高的

一九六一年攝於紐約工作室。巨大的單評價。

Giant Infinity Nets in her New

1945

Returned temporarily to Japan, held happening in Tsukiji, Tokyo and was placed under arrest. ─────────────────

1971-72 在歐洲各地舉辦乍現演出和時尚走秀。

─────────────────

Held happenings and fashion shows at various places in Europe.

第二次世界大戰結束。

─────────────────

Her lover, Joseph Cornell died.

情人喬瑟夫•科奈爾過世。

1972

1973

1975

Her father, Kamon died. The Vietnam War ended.

父親嘉門過世。越戰結束。

三十五件拼貼作品。

返國後首度舉辦個展「草間彌生冥界傳來的死訊」展品包含

─────────────────

1974

─────────────────

Returned home and made Japan her creative base. Streaking became a worldwide trend.

返國。以日本為創作據點。全世界開始流行裸奔。

Neo Dadaism came to the fore in Europe and the U.S.

新達達主義 104 開始在歐洲和美國興起。

「草間彌生個展」於松本市第一公民館首度舉辦。

First solo exhibition “Yayoi Kusama: Solo Exhibition” was held at the First Community Center, Matsumoto, Nagano. 立志前往法國，獲得大修米耶學院 105 的入學許可，然而東京

First solo exhibition after returning to Japan “Message of Death from Hades ” was held which included 35 collages.

個展定案，只好取消法國行。

─────────────────

1980

110在歐美引發注目。 Jean-Michel Basquiat held first solo exhibition in Italy. Neo-expressionism became the focus in Europe and the U.S.

尚•米榭•巴斯奇亞 109 於義大利首度舉辦個展。新表現主義

John Lennon was shot in New York.

約翰•藍儂於紐約遭到刺殺。

前往美國。於西雅圖舉辦個展，翌年轉往紐約。

Wishing to travel to France, she gained admission to Académie de la Grande Chaumière, but cancelled after a solo exhibition in Tokyo was decided. 1957

1984

小說《克里斯多夫男娼窟》（角川書店出版）獲第十屆野性時代新人文學獎。

Received 1 0th Yasei Jidai Literary Award for New Writers for her novel The Hustlers Grotto of Christopher St. (Kadokawa Shoten). 母親茂過世。

─────────────────

1983

─────────────────

1981

───────────────── 於布拉塔畫廊舉辦紐約第一個個展。展出「無限的網」系列及其他作品。

First solo exhibition in New York was held at the Brata Gallery. Exhibited the “Inﬁnity Nets” series and other works.

表「康寶濃湯罐頭」。披頭四出道。

在格林畫廊的聯展當中首度展出軟雕塑作品。安迪•沃荷發

Exhibited ﬁrst soft sculpture work at a group exhibition at the Green Gallery. Andy Warhol released the Cambell’s Soup Cans. The Beatles debuted. ─────────────────

1962

─────────────────

1958

─────────────────

Traveled to the U.S. where, after holding a solo exhibition in Seattle, she moved to New York.

─────────────────

1953

─────────────────

1952

─────────────────

1950

─────────────────

The Second World War ended.

─────────────────

Born as daughter of a nursery wholesale dealer in Matsumoto, Nagano. Panic on Wall Street sparked the Great Depression.

York studio in 1961. It attracted high acclaim in the local art scene.

一九六四年，卡斯帖蘭尼畫廊個展「草間彌生的窺探秀」。無數的突起物淹沒整個展場。 “Driving Image Show” at Richard

Castellane Gallery in 1964. Countless protrusions filled the space.

212 213

這件裝置設於一九九六年，福岡三菱地所ARTIUM 124「Repetition」個展。

An installation at “Repetition,” a tium, Fukuoka in 1996.

solo exhibition at Art Gallery Ar-

1964

─────────────────

Her mother, Shigeru died. 1985

「草間彌生壓迫意象展」（Driving Image Show）（卡斯帖蘭尼畫廊）展出用突起物包覆的家具，以通心粉覆蓋的洋裝等等

1988

草間於北九州市立美術館 112 舉辦個展「草間彌生展」。這是她第一次在日本的美術館舉辦個展。安迪•沃荷去世。

First exhibition at a Japanese art museum “ Yayoi Kusama” was held at Kitakyushu Municipal Museum of Art, Fukuoka, Japan. Andy Warhol died.

紐約國際當代藝術中心 114 舉辦大規模的「草間彌生回顧展」。創造重新評價草間彌生的契機。柏林圍牆倒塌。

First large-scale retrospective “ Yayoi Kusama: A Retrospective” held at the Center for International Contemporary Arts, New York. It triggered a reevaluation of Kusama. The Berlin Wall fell. ─────────────────

1989

─────────────────

達米恩•赫斯特 113 企畫「Freeze」展。YBA（Young British Artist）蔚為話題。 Damien Hurst planned the “Freeze” exhibition. The Young British Artists (YBA) became topical.

─────────────────

1987

─────────────────

Plaza Accord is negotiated, which led to the Japanese Asset Price Bubble.

日本簽署廣場協議 111，引發後續日本泡沫經濟。

作品。開始製作運用鏡子的作品。

Exhibited furniture covered with protrusions and dresses covered in macaroni at “ Yayoi Kusama, Driving Image Show” held at the Richard Castellane Gallery. Started creating works that incorporated the use of mirrors. 越戰爆發。從這時候起，年輕人開始掀起嬉皮風潮。

─────────────────

1965

The Vietnam War started. From that time, young people began the hippie movement. 積極在劇場、美術館、廣場等空間推動乍現演出，並於伍茲

─────────────────

1967 等作品。

塔克展出『草間的自我消融馬戲』、於荷蘭展出「身體慶典」

Busily conducted happenings at theatres, art museums and open spaces and exhibited works such as Horse Play, Self Obliteration at Woodstock, and Body Festival in the Netherlands. 電影《草間的自我消融》於紐約首映之後在全世界發行。獲安

─────────────────

1968

爾•杜象 108 過世。

娜堡影展 106 銀獎。捷克斯洛伐克爆發布拉格之春 107。馬歇

Appeared in the ﬁlm “Tokyo Decadence” (directed and produced by Ryu Murakami) as a fortune teller.

角。

演出電影《黃玉》（トパーズ）（村上龍導演•原作）占卜師一

─────────────────

Keith Haring died from AIDS.

凱斯•哈林 115 愛滋病過世。

1991

1990

Film Self Obliteration, which premiered in New York, was released worldwide. The film won awards such as Silver Award at the Ann Arbor Film Festival. The Prague Spring occurred in Czechoslovakia. ───────────────── 紐約布魯明黛百貨公司等地開始販售草間時裝。《草間狂熱》（Kusama Orgy）雙周刊創刊。伍茲塔克舉辦大規模搖滾音

─────────────────

1969

樂節。

1993

Kusama was chosen for the ﬁrst solo exhibition at the Japanese Pavilion at the 45th Venice Biennale, as Japan’s representative artist. 開始製作戶外雕塑。

現個展。

獲選為第四十五屆威尼斯雙年展日本代表，在日本館首度呈

Kusama ’ s dresses and other items went on sale at New York’s Bloomingdales Department Store. Kusama began publishing bi-weekly newspaper “Kusama Orgy. ” A large-scale rock music event was held at Woodstock.

1994

───────────────── 暫時返回日本。在東京築地進行乍現演出，遭到警方逮捕。

─────────────────

1970

214 215

二○○二年松本市美術館個展「靈魂的安身之處」。創作者坐在黃色南瓜旁邊。 “ The Place for My Soul ” a solo exhibition at Matsumoto City Museum of Art in 2002. Artist seated next to the yellow pumpkin.

二○○六年十月，獲頒第十八屆高松宮殿下紀念世界文化獎繪畫領域獎。相片攝於記者會。

Kusama at a press conference in October 2006, upon receiving the 18th Praemium Imperiale in Painting.

二○○九年十二月，攝於草間工作室的近照。草間正在為二○一一年的個展努力工作。這段時間也被選為日本的文化貢獻人士。

Recent photo of Kusama at her studio in December 2009. She is working towards a solo exhibition in 2011. Taken at around the time when she was recognized as a Person of Cultural Merit.

Turned her hand to environmental sculpture. ─────────────────

2005

Held solo exhibition Kusama Matrix in Tokyo and Sapporo. Participated in the Whwwitney Biennial 2004 (New York). ───────────────── 紐約佳士得拍賣《No.B-3》，以大約一百二十萬美元結標。 “No.B, 3” was sold at Christie’s New York for about $1.2 million.

紐約現代美術館等全美三座展館與東京舉辦個展「永恆的愛草間彌生 1958 ∼1968」。 Solo exhibition “Love Forever: Yayoi Kusama 19581968” in the U.S. at three museums including MoMA, New York and in Tokyo. ─────────────────

1998

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2006

鹿特丹波伊曼•凡•貝尼根博物館舉辦個展。紀錄片

（繪畫領域）122。

獲頒終身成就獎、旭日小綬章、高松宮殿下紀念世界文化獎

Received Lifetime Achievement Award, Order of the Rising Sun, and the Praemium Imperiale (for painting).

2000

獲頒第50屆藝術選獎文部大臣獎 116。村上隆 117 策展的『SUPER FLAT』在日美激起話題。 Received 5 0th Education Minister’s Art Encouragement Prize. “Superﬂat” curated by Takashi Murakami became topical in Japan and the U.S.

2008

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獲頒朝日賞 118。九月十一日美國同時發生多起恐怖事件。

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2001 《NEAR EQUAL 草間彌生》上映。《No.2》於紐約佳士得以

2009 123。美國總統大選，巴拉克•歐巴馬獲選成為第一位非裔總

波伊曼美術館個展至澳洲、紐西蘭巡迴。獲選文化貢獻人士

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大約五百八十萬美元結標。

Received the Asahi Prize. September 11 attacks occurred. 於松本市美術館舉辦開館紀念個展。靛綬褒章 119 受勳。

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2002

Held solo exhibition at Museum Boijmans Van Beuningen, Rotterdam. Documentary ﬁlm I Adore Myself was released. “No. 2” sold at Christie’s New York for $5.80 million.

Held solo exhibition at the Matsumoto City Museum of Art to commemorate the museum’s opening. Received the Medal of Honor with Dark Blue Ribbon. ───────────────── 統，獲頒諾貝爾和平獎。

法國藝術文化勳章軍官章 120 受勳。長野縣知事表揚（學術藝術文化貢獻）受勳。伊拉克戰爭開打。

2003 Exhibition organized by Boijmans toured Australia and New Zealand. Recognized as Person of Cultural Merit. Barack Obama becomes ﬁrst U.S. president of African decent and is awarded the Nobel Peace Prize.

Large-scale retrospective exhibition tours Europe.

大規模回顧展開始在歐洲巡迴。

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2011

Received the French Ordre des Arts et des Lettres (Officier), and the Nagano Governor Prize (for the contribution in encouragement of art and culture). The Iraq War started.

121（紐約）。

個展「Kusamatrix」於東京和札幌展出。參加惠特尼雙年展

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2004

216 217

草間對於創作的追尋到死也不會結束。草間の求道は、死しても終わらない。

草間彌生自己表示：﹁從我開始懂事以來，每一天每

是眼前還有要花四百年才有辦法完成的工作，但是我現

創日本從未有人處理過的新世界和新思想。我的心情像

Kusama’s pursuit of truth will never end even after her death.

一天都很想死。﹂每次她都會開始畫圖，投入到忘記一

在才要出發。﹂度過生活貧困又備受抨擊的紐約時期，草間彌生現在享有藝術界的崇高地位、名聲與優秀的工作夥伴。大家都在支持草間彌生。現在是她人生最美好的時光，她賭上一口氣：﹁要接二連三拚命把作品做出來。﹂

藝術家經常在生死交界奮鬥，近年來，草間開始感覺

上走向藝術﹂這種表現孤獨感的文字，或者﹁自殺啊，

恐懼。她在自己寫的詩裡面寫出﹁靠在宛如幻覺的路標

當然天才草間彌生畢竟也是一個人。也會感到不安與

接近真正的死亡，﹁慢慢好像開始迎接身為一個人的人

等等我，我要問問藝術我還可不可以活下去﹂這種隱含

量經常以煽情的樣貌讓同時代的人感到驚訝。不知這些

術的虹彩面紗，隨著年齡增長力量越來越強。迸發的力

振翅高飛，將有限的﹃生﹄發揮到極致，一天到晚想要

審視生命的光輝。因此她說：﹁我想要掌握藝術的力量

然而相對於從小產生的自殺傾向，草間每天都會好好

焦慮的句子。

力量究竟是從何而來。

創作、不停燃燒生命。

去死並不是我的生存之道。﹂就這樣懷抱熱情每天生活、緊迫所以才會瘋狂創作，因為我已經進入飛機準備降落

﹁我在所剩不多的人生當中懷抱著一顆夜不成寐的燃

﹁這是因為死期將至開始準備降落。我也是被逼得更

然而她的精力完全沒有衰退。相反地，她裹著名為藝

生終點﹂。

我只知道要堅持到底

早就自殺了。﹂

慾望就會克制下來。草間喃喃說：﹁如果沒有藝術，我

切。這樣一來她的身體就會被愛包圍，自己想要死亡的

Her concentration while creating her works is immense. She immerses herself letting her pen race across the canvas as if the entire composition is completed before starting.

的狀態。著陸的時候就代表死亡。我今後也打算繼續開

218 219

創作作品的專注力相當驚人。她作畫的時候飛快揮灑畫筆投入其中，彷彿一開始就已經想好所有的構圖。

我在人間暈頭轉向的小路上抬頭望向遼遠的天天際閃耀的星星越追彷彿躲得越遠身處地上駑鈍的泥濘這條漫長又愚蠢的路我只能辛辛苦苦一路這樣走死亡終究會逼近─

Distant Are the Stars That Shine on the Pursuit of Truth

燒靈魂，希望能夠透過藝術的力量，在我死後將我的思

是一座盯著星光都會看丟的迷宮

想永遠流傳下去。﹂前衛藝術家草間彌生的藝術追尋，

追尋真理度過的漫長歲月

永遠沒有結束的一天。

求道的閃耀之星在遠方

Seeking truth, I have walked on in a labyrinth which even the starlight might lose sight of. On a small dark path of this world, as I look up at the distant canopy, stars are shining in the faraway sky. More I try to seek truth, father seems the starlight. In the mire of foolishness on earth, how stupid of me to have walked this long path, suffering when death is imminent— 草間彌生對生死總是懷抱著神祕與憧憬。「我這一生真的是都依靠『愛會長長久久』這句話。」

Kusama has always lived with mysteriousness and yearning towards life and death. It has been a life driven by the phrase “Love Forever.”

221

220

“For as long as I can remember, every day, I have thought I want to die.” Yayoi Kusama reveals about herself. When this occurs, she paints pictures and becomes completely immersed to the point of forgetting everything. She says, by doing so, love wraps around her whole body and the desire to die is suppressed. “If it were not for my art, I would have committed suicide.” What I know is just to keep running to right through to the end. Constantly having battled on the cusp between life and death, the artist is feeling close to really meeting death, “gradually I feel the end of life as a single human being approaching.” However, her energy is not fading. On the contrary, covered in an iridescent veil called art, she seems to be powering up as each year passes. Her power gushes forth as she constantly surprises people of the day in sensational fashion. Just where does such power come from? “Death is approaching and I am preparing for landing. Now in my final spurt, I am creating art with frenzy. The aircraft is preparing for landing and once landed, I will be dead. So from now on, I plan to create new worlds and new thought that no one in Japan seems to be doing. I have a strong feeling that I have set off to take on the work ahead of me, even though such work amounts to more than I could do in 400 years.” Having passed through an era of condemnation and impoverished life in New York, Kusama is now blessed with a high status and name in the art world together with an excellent staff. Everyone is now supporting her. Since now is the best time of her life, she enthusiastically says, “I am continually going to make work after work.” Of course, even though she is the genius Yayoi Kusama, she is still just one human being. There are times when she is engulfed in anxiety and fear. In her poems, there are lines expressing desolateness such as, “holding fast to the heat-shimmering sign post to art,” and lines expressing anxiety such as, “Hang on there, suicide, Can I keep on living? Listen to my art.” Yet since her childhood, the flipside to suicidal urges has been daily reappraisal of the splendor of life. “As I walk my path of life, it is not death alone that I think about. I want to use the power of my art as the wings to carry me up heavenly high to the limits of my ‘life.’ ” With such passion she continues to fire up her life, living each day and creating. Kusama says, “With not much of my life remaining, I shall live it out, continuing with a burning spirit that does not sleep at nights with a wish that, through the power of art, I shall succeed in leaving my thought for eternity after my death.” The pursuit of truth of avant-garde artist Yayoi Kusama will continue until eternity, never ending.

223

求道的閃耀之路在遠方二○○九年│水性墨水、插畫板

42×29.6cm│作者自藏 ─ 進行專訪時請草間小姐畫給我們的作品。她引用自己的詩來命名，然而將星寫成路變成「求道的閃耀之『路』在遠方」。草間透過揮灑的筆透露出自己追求「個人之路」的強烈渴望。

Distant is the Path that Shines on the Pursuit of Truth 2009│Water pigment ink on illustration board 42×29.6cm│Collection of the artist ─ This work was drawn during the interview. The title was chosen from her poem “Distant are the Stars that Shine on the Pursuit of Truth” with “path” replacing “ stars ” Unintentionally. Her sweeping pen shows her feeling of a strong desire to pursue today’s Kusama path.

建畠晢：一九四七

，京都市立藝術大學校長。一九七二年畢業於早稻田大學

一 ○ ○

文學系，歷任國立國際美術館主任研究官、多摩美術大學教授之後，二 ○○ 五二 ○ 一一年任職日本國立國際美術館館長。專攻現當代藝術。曾任一九九、一九九三年威尼斯雙年展日本館策展人、二 ○○ 一橫濱三年展、二 ○ 愛知三年展藝術總監，並參與諸多亞洲現當代藝術的專題企畫。 ────────────────── 傻子伊凡： Ivan the Fool ，這個典故出自一個描述傻人有傻福的俄國民間故

事，惡魔利用人的各種慾望煽動三兄弟運用各種智慧機巧互相詐取互相殘殺，然而傻子伊凡只相信親手耕作，不但娶到公主更創造安定的國家，使惡魔銷聲匿跡。俄國文豪托爾斯泰曾經把這個故事寫成短篇小說，因而廣為流傳。 ────────────────── 邊緣人： outsider 。法國藝術家杜布菲︵ Jean Dubuffet ︶創立了﹁原生藝術﹂

︵ Art Brut ︶這個術語，專指超出主流文化範圍之外的藝術創作，尤其特指精神病患者們的創作。英文現今有時會用 Outsider Art 代稱，不過涵蓋的範圍更廣，包含自學而成，和任何藝術訓練無關的人單純為自我表現而創作的作品。

年代的視覺藝術。代 ○

────────────────── 極簡藝術： Minimal Art ，是一個跨越音樂、設計、視覺藝術等許多創作領域

的藝術風潮，在藝術方面主要指稱二戰之後美國六、七

表人物有唐納 • 賈德、法蘭克 • 史帖拉、艾格尼斯 • 馬丁等。這些作品根植於現代主義的簡化風格，被視作為對抽象表現主義的一種反動，也是通往後現代的過渡。

的一股視覺藝術風潮。藝術家把大量生產的流行視覺商品運用在純藝術的領域

────────────────── 普普藝術： Pop Art ，普普藝術是英國五 ○ 年代中期與美國五 ○ 年代晚期興起

和其他物件並置引發聯想，創作態度往往勝過作品實質的藝術內涵。它最大的

中，對傳統藝術概念造成衝擊。普普藝術把物件抽離它原本的脈絡，或者把它

特色就是從大眾流行文化譬如廣告、漫畫或日常物品當中擷取主題和技巧，這股風潮被視為是一種對當時主導藝壇的抽象表現主義的反動與延伸。他們採用流行的視覺元素而非精英的藝術文化，經常用一種反諷的方式強調既有稀鬆平常的庸俗事物。最具代表性的例子就是安迪 • 沃荷︵ Andy Warhol ︶使用康寶濃湯的商標和產品包裝這種現成的廣告元素來創作。 POP 這個詞有時候也用來指涉藝術家複製或改造的一種技巧。大部分的普普藝術帶著一種自我矛盾，他們想要揭露的概念往往讓他們更難以被人理解。此外，普普藝術風潮也被認為

──────────────────

是後現代藝術的前身之一。

新普普： Neo-pop ，為美國八 ○ 年代流行的一種藝術風格。和普普不同的是，新普普融合了龐克畫、塗鴉派︵ Grafﬁti art ︶、新一代卡通與電腦動畫，並且

──────────────────

更加重日常事物的主題表現。

集結了世界最前衛的藝術。二

年八月正式開幕，首屆展覽以﹁都市的祭 ○

﹂為題，邀請國內外約七十組藝術家共襄盛舉，這些作品除 Arts and Cities

────────────────── 松本市：松本是長野縣內第二大城。長野縣位於日本中央，是完全沒有接觸海

街道當中，企圖在大都會的日常景色當中展現非日常的特殊景色。

了在美術館與劇場之外，也延伸到廣場、公園與具有歷史的纖維商店街等都市

典

一 ○

愛知三年展二 ○ 一 ○ ：來自世界約二十國的藝術家團體參加的日本最大規模的國際展，三年一次的國際藝術祭。當代藝術與舞臺公演，在日本愛知與名古屋

────────────────── 布拉塔畫廊： Brata Gallery ，一九五七六 ○ 年代中期，位於東十街八十九

作品，以最和諧的姿態呈現在展場空間之中。

品的﹁家﹂，讓來自日本本土、韓國、澳洲、美國、蘇格蘭等世界各地的藝術家

十和田市現代美術館：建於二 ○○ 八年，由知名建築師西澤立衛設計。館內常設展珍藏了二十一件永久性作品，館方配合作品的不同特性，分別規畫每件展

──────────────────

曲家岩垂德行等。

的內陸縣，境內多是高山和盆地。同地出身的名人還有電影導演降旗康男、作

︶、艾爾 • 亥爾德︵ Al Held ︶等數十位。 Edward Clark

︶教授藝術史，並任耶魯大學繪畫版畫的資深 Cooper Union in New York

構，沒有極簡主義所要求的那種嚴格規範。賈德認為藝術不必成為任何現實事

尋找一種自主性和明確性，擺脫任何相對的階級高下。他開創一種發散性的結

唐納 • 賈德： Donald Judd ，一九二八一九九四，美國極簡藝術家︵不過本人極力否認︶，設計師。早年就讀哥倫比亞大學哲學系，跟隨梅耶 • 夏匹洛學習藝術史，並於藝術刊物上撰寫藝評。他想要運用作品為物件及其塑造的空間

──────────────────

評論人。

︵

等。她曾榮獲許多獎項肯定，包含古根漢基金會獎助金，並於庫伯聯盟學院

︶、︽畢卡索論藝︾︵ Picasso On Art ︶等 York School: A Cultural Reckoning

集錄︾︵

面野口勇︾︵ Noguchi East and West ︶、︽談談羅斯科︾︵ About Rothko ︶、︽一九四五年後的美國藝術︾︵︶、︽喬瑟夫 • 科奈爾 American Art Since 1945 ︶、︽紐約畫派：一種文化意見︾︵ The New A Joseph Cornell Album

史家，又是一對一和創作者接觸的圈內人。著有三十餘冊相關著作，包含︽雙

︶的下一輩。阿修頓兼具兩種身分，她既是觀察藝術潮流演變的藝術 Schapiro

︶、哈洛 • 盧森堡︵ Harold Rosenberg ︶和梅耶 • 夏匹洛︵ Meyer Greenberg

多爾 • 阿修頓： Dore Ashton ，一九二八，作家、批評家。阿修頓畢業於哈佛，是重要的現當代藝評家。她是重量級藝評家克萊門 • 格林堡︵ Clement

──────────────────

拉克︵

號。由約翰 • 克勒許尼克︵ John Krushenick ︶和尼可拉斯 • 克勒許尼克︵ Nicholas Krushenick ︶兩兄弟創立，成員有草間彌生、抽象畫家艾德華 • 克

1 2 3 4 5 6

物的再現，應該簡潔明確，獨立存在。七 ○ 年代時他創造一些以房間規格作為標準的裝置，把這種空間變成他的遊戲場，並把他的藝術觀點轉換成一種身體性的經驗。他依照自己個人嚴格的美學標準創作清晰明確的作品，晚期還跨足家具、設計和建築等領域。

的抽象表現主義大師。一生毀譽交加，性格孤僻、激烈又嚴重酗酒，四十四歲

────────────────── 傑克遜 • 波洛克： Jackson Pollock ，一九一二一九五六。美國最具影響力

死於酒醉駕車。二戰時許多歐洲超現實主義畫家流亡美國，波洛克和這些創作

一九四二年參與了聯邦美術計畫的工作。這是羅斯福新政的一

者交流受到畢卡索和米羅等人的影響，使他越來越重視無意識的意象。此外，他於一九三五部分，委託眾多新銳藝術家替公共建築進行壁畫或公共藝術創作。馬克 • 羅斯杜庫寧等著名畫家皆投身參與。波洛克擔任墨西哥壁畫運動大師西 • 科、威廉

︶的助手，巨大的牆面與噴槍和過去畫布與 David Alfaro Siqueiros

筆刷的世界形成巨大的對比，讓波洛克備感衝擊。這段經歷加上他觀看印第安

揆羅斯︵

︶在 drip

原住民沙畫的經驗帶給他很深的影響。一九四三年，波洛克開始運用一種新的技巧。他把畫布平敷地面，運用各種道具直接把顏料和油漆﹁滴灑﹂︵畫上，開創了﹁行動繪畫﹂的新潮流。 ────────────────── 行動繪畫： Action painting ，專指一種潑灑、塗抹或讓顏料自然流淌的作畫

風格，經常會和法國巴黎的滴色派︵ Tachisme ︶並列比較。這些作品通常會強調作畫過程的舉止動作內涵，把它當成是作品的必要元素，或者是創作概念的一部分。以代表人物波洛克的作畫方式為例，波洛克將大幅畫布平舖在地上，然後在畫面四周走動，甚至直接走到畫上，用滴濺、潑灑的方式作畫。他在作畫的過程當中，畫筆不會直接接觸畫布。繪畫的過程像是某種舞蹈儀式，是用

時候把這個詞當成一種類型派別，有時候當成某種作品代稱，為了同時呈現作

整個身體在運動。這個詞彙中文有﹁行動繪畫﹂、﹁潑畫派﹂之類的翻法。本書有

品的視覺特色並強調作畫過程的創作特性，比照抽象畫、水墨畫這類用語，有時候會折衷採用﹁潑灑畫﹂來翻譯。 ────────────────── 無限的網：無限の網。草間彌生有幾件作品與自傳都以此為名，當初基於一些

詞，都是強調她自己過去體驗的那種無限延伸覆蓋的幻覺。

考量採取直譯，然而﹁天羅地網﹂應該更生動。因為自傳內文幾度提及這個名

────────────────── 史蒂芬 • 拉迪奇畫廊： Stephen Radich Gallery 。拉迪奇︵一九二二二

庭藝廊︵︶和瑪莎 • 傑克森藝廊︵ Martha Jackson Curt Valentin Gallery

七︶早年在哥倫比亞大學修習藝術和哲學，五 ○ 年代到許多紐約藝廊工 ○○ 作，包含威黑書店藝廊︵ Weyhe Book Store and Gallery ︶、科特 • 瓦倫 ○ 一九六九，拉迪奇先生在麥迪遜大街上開了他的藝舒格曼︵ George Sugarman ︶、草間彌生和狄米特力 • 哈 •

︶。一九六 Gallery 廊，展出喬治

雕塑、拼貼、陶瓷等作品。畢卡索是少數能在生前名利雙收的畫家之一，一生經歷了許多不同的風格時期。他受畫家父親影響，很早就開始習畫，早期受象徵主義和艾 • 葛瑞科︵ El Greco ︶影響，變形的肢體與神秘的表情深深吸引畢卡索。他吸納嘗試各種風格，廣泛涉獵立體主義、非洲原始藝術、超現實主

卡︾、︽哭泣的女人︾等。

義到古典主義等不同創作方式，難以歸類。代表作有︽亞維儂姑娘︾、︽格爾尼

────────────────── 馬諦斯： Henri Matisse ，一八六九一九五四。法國畫家，野獸派︵ Fauvi︶的創始人、主要代表人物，也是一位雕塑家、版畫家。以使用鮮明、大 sme

膽的色彩而著名。他年輕時因為盲腸炎住院開始對繪畫感興趣，後來師事象徵主義畫家莫羅︵ Gustave Moreau ︶，學會用超越形式框架的觀點來思考，並依循這種思路進行創作。他受到後印象派的畫家塞尚︵ Paul Cézanne ︶、︶、梵谷︵ Vincent Willem van Gogh ︶、希涅克︵ Paul Paul Gauguin ︶等人的影響，同時吸收日本藝術形式，在自己的作品中將顏色的作用 Signac

高更︵

自自然，而畢卡索的是來自自己的想像。雖然兩人都以女人和靜物作為主要描

發揮到極致。馬諦斯是畢卡索的朋友，同時又是對手，他認為自己的畫作是來

體派那麼理性分析，更重視主觀的感覺，他們認為色彩是一種表現創作者主觀

繪對象，可是馬諦斯更傾向將描繪的對象放到真實的場景中。野獸派並不像立

感受的工具，不必為整體構圖或素描的線條服務。他們揮別文藝復興以來的寫實主義，不再使用視覺觀察的色彩而是採用內心感受的色彩來創作。 ────────────────── 卡斯帖蘭尼畫廊： Richard Castellane Gallery ，里察 • 卡斯帖蘭尼︵ Ri︶於普林斯頓大學主修藝術和考古學，哥倫比亞大學研究所 chard Castellane 史密斯森︵ •

︶等。 Robert Smithson

畢業之後開始擔任藝術經理人的工作，經手的藝術家有草間彌生和地景藝術家羅柏

────────────────── 黑光：運用長波長紫外線的黑光燈照明，讓螢光塗料顯像的一種技術。

────────────────── 藝術之家： Haus der Kunst ，位於德國慕尼黑最大公園﹁英國公園﹂︵ Eng︶內的美術館。它是納粹第三帝國時期第一座重要理念宣傳建 lischer Garren 築，開幕展是大德國藝術展，以之對抗腐敗的現代藝術。現在，藝術之家主要用來作為巡迴展以及暫時性的展示空間。

史固爾︵ •

︶出資，理查 • 貝拉米 Robert Scull

────────────────── 格林畫廊： Green Gallery ，位於紐約曼哈頓的藝廊，營運於一九六 ○ 一九六五年間。由收藏家羅勃

︵ Richard Bellamy ︶負責營運。五 ○ 年代末六 ○ 年代初，紐約前衛藝術圈普遍圍繞在下城區第十街畫廊群一帶，格林畫廊是上城區第一間展示這些前衛

年代中葉的新風格：色域繪畫︵ Color Field ○

作品的藝廊。這間藝廊營運期間拓展了紐約的藝術風景，展示一群嶄新的後抽象表現主義藝術家，呈現六

莫瑞爾︵ •

Marc

吉︵ Dmitri Hadzi ︶等當代藝術家的作品。拉迪奇畫廊最著名的事件是被捲入國旗裁決案。一九六六年，一位名不見經傳的藝術家馬克

上訴到最高法院，正反雙方僵持不下。這個案子在紐約藝術圈掀起軒然大波，

︶用國旗作創作素材抗議越戰，被判侮辱國家。評論家希爾頓 • 克拉瑪 Morrel 當時為紐約時報撰文，評述雖然作品並不高明，但是並無犯法之嫌。案子一路

奇於一九六九年關閉畫廊之後，以個人身分繼續進行藝術經理人的工作。

激起各種和旗幟有關的抗議行動。聯邦法院最終在一九七四年翻轉判決。拉迪

────────────────── 乍現： happening ，乍現是一種表演藝術形式、一種事件或一種活動的情境，

形式舉行乍現演出，這種演出活動通常只有粗略的流程大綱，帶有許多即興成

這個名詞涵蓋了許許多多完全不同的表演內容。創作者可以在任何地方以任何

分，並結合音樂、影像等多種創作形式。演出內容不一定有敘事性，而且往往邀請觀眾一同參與。乍現創作者想要打破觀眾和作品的界線，讓觀眾成為作品的一部分，因此每次演出的狀況可能會使內容產生很大的差異，每個人都只年 ○六 ○ 代，乍現活動廣為流行，許多藝術家都曾經作過乍現演出，因為這個名詞的含

能在當下接觸到，無法重複體驗。乍現的藝術性正是奠基於此。五

糊性，其中也涵蓋了一些名不符實比較接近傳統劇場的作品。艾倫 • 卡普洛是最早提出﹁乍現﹂這個名詞的人，積極創作與撰文推廣乍現美學。他努力發展一

︶被認 18 Happenings in 6 Parts (1959)

種刺激觀眾產生創造性反應的技巧，鼓勵觀眾以自己的方式和乍現產生關連。

為是史上第一次乍現演出，不過也有論者認為應該要追溯到一九五二年他老師

他的作品︽分成六段的十八種乍現︾︵

約翰 • 凱吉︵ John Cage ︶在黑山學院︵ Black Mountain College ︶的︽劇場作品一號︾︵ Theater Piece No.︶ 1。乍現的概念後來風行全球，有許多藝術家繼續發展相關作品，成為表演藝術的一環。在華文圈，有些人把 happening 這個名詞翻成﹁偶發藝術﹂、﹁偶發﹂或﹁事件﹂，強調它隨機發生的特徵。然而隨

，當代流行的快閃族︵ Flash happening

後來延伸出現在許多不同的語境當中，從政治 happening

機、偶發是自達達與超現實主義以來藝術家已經發展數十年的一種創作概念，容易混淆。此外，

︶在概念上與此也有部分共通之處，採用﹁偶發藝術﹂的譯法有點沉重， mob

性的抗議到挑釁式的惡搞都可以看到

也不夠周延。一般使用這個詞的時候有時候只是當成一種表演形式，因此選定﹁乍現﹂來翻譯。

指的是讓自己形體消融，和永恆合而為一，所以沿用﹁消融﹂ obliterate

────────────────── 自我消融：日文原文﹁自己消滅﹂，英文則是 Self Obliteration 草間在自傳中曾

經自述而不直接採用漢字﹁消滅﹂。

────────────────── 畢卡索： Pablo Ruiz Picasso ，一八八一一九七三。西班牙畫家、雕塑家。

和喬治 • 布拉克︵ Georges Braque ︶同為立體主義的創始者。畢卡索是二十世紀現代藝術的主要代表人物之一，遺世的作品達兩萬多件，包括油畫、素描、

︶、匯流派︵ Fluxus ︶和普普藝術。 Art

︶、詩意抽象︵ Lyrical Abstraction ︶、極簡主義、歐普藝術︵ Op Painting

年代的時候開始運用這種技術，使它廣為流行。 ○

────────────────── 軟雕塑： Soft sculpture ，用布料、泡沫橡膠、塑膠、紙、纖維之類軟性材料

或充氣製作的雕塑。六

────────────────── 葛楚史坦畫廊：，葛楚 • 史坦在一九 ○ 四 • Gertrude Stein Gallery 一九一三年間與哥哥李奧 • 史坦︵ Leo Stein ︶共同開設了這間私人畫廊。他們︶、馬諦斯、畢 Eugène Delacroix

︶的眼光，陸陸續續收藏了許多重 Bernard Berenson 要藝術家的作品，包含塞尚、德拉克拉瓦︵

受益於藝術史家貝倫森︵

史坦︵一八七四一九四六︶是美國作家，善於交際， • 生涯大半待在法國，是當時文藝圈的重要推手。她與許多文藝大家交遊，畢卡

卡索、高更等等。葛楚

──────────────────

索、海明威、阿波里奈爾︵ Guillaume Apollinaire ︶等都是她的座上嘉賓。安迪 • 沃荷： Andy Warhol ，一九二八一九八七，美國藝術家，是普普藝術的代表人物。代表名言為：﹁在未來，每個人都可以成名十五分鐘。﹂早年沃荷

︶ The Factory

是個不錯的廣告插畫家，他在一九六二年首度舉辦藝術個展，並且開始運用廣告品牌和名人肖像製作版畫。這時他也成立著名的工廠工作室︵

品內容也引發討論風潮，令人質疑什麼才是藝術創作。沃荷的版畫以美鈔廣告

吸引各個領域的藝術家。他大量生產、唯錢是問的作風引發相當大的爭議，作

版印刷的方式大量生產。這些流行的圖案博得大眾的歡心，然而也顯示出美國

商品等日常符號、社會新聞照片或者明星肖像為主題，採用華麗的配色，以絹

資本主義大眾文化大量消費的氣氛。他毫不掩飾自己追名逐利的企圖，表示自己就是只有表面這麼膚淺，把扮演公眾名人形象視為重要目標。

︶。 obsessive artist

────────────────── 執念藝術： Obsessional Art 。草間彌生對於自己的精神狀況相當有自覺，

︶。這個詞的來源是強迫症︵ Obsessiveobsessional art

她認為自己帶著一種非描繪點點不可的創作強迫症，由此發展創作出來的作

常用精神醫學的術語來描述自己，自稱﹁執念藝術家﹂︵

品就是﹁執念藝術﹂︵

︶構成，典型的症狀譬如像是感覺手不乾淨每天要洗手十 compulsion

︶，由糾纏腦中揮之不去的憂慮︵ obsession ︶和難以抗拒 compulsive disorder 的衝動︵

特指難以放下的偏激態度與執著，一方面這個日文名詞自古以來就廣泛用來描

幾次、或者怕家裡瓦斯沒關不停去檢查等。在此採用﹁執念﹂來翻譯，這個詞語

日本當代藝術。

述日本文化中某種極端的性格特質，二來這個詞有時也會用來形容暗黑舞踏等

────────────────── 板橋區立美術館：位於東京板橋區赤塚城遺跡附近的美術館。為東京第一間公立美術館。收藏包括江戶時期的狩野派、古美術至近代、現代的日本的西洋畫、日本畫、前衛美術等作品。

227

17 18 19 25 26 27

13 14 15 16 20 21 22 23

────────────────── 草月會：二戰之後，勅使河原蒼風創社新派插花門派﹁草月流﹂。為了推廣插

花這種日本傳統文化，於一九五五年成立草月會，經營並管理插花教育與國內外展覽。隨著一九五八年草月會館︵東京 • 赤坂︶竣工，基於創始人追求前衛的志向也同時創設草月藝術中心，推動現代音樂、實驗電影、爵士樂、與前衛藝術，各界重要藝術創作者都參與其中。核心人物包含秋山邦晴、粟津潔、飯島耕一、一柳慧、大岡信、杉浦康平、高橋悠治、武滿徹、東野芳明、中原佑介、橫尾忠則、和田誠等等。 ────────────────── 東京都當代藝術館：東京都現代美術館。日文的﹁現代美術﹂指的是中文的︶﹂，﹁近代美術﹂指的才是中文的﹁現代藝術 Contemporary Art

︶﹂。成立於一九九五年，專攻當代藝術的公立美術館。以樓面面 Modern Art

﹁當代藝術︵︵積來算，它是全日本最大的美術館，然而設計卻被日本重要建築師磯崎新評為巨大垃圾。 ────────────────── 紐約現代美術館： The Museum of Modern Art ︵ MoMA ︶，創立於一九二八

年，紐約收藏現當代藝術的重鎮，被認為是全世界最重要的現代藝術美術館之一。除了各式媒材的創作之外，還收藏了許多重要的第一手藝術史料。館內收藏超過十五萬件作品、兩萬兩千部影片，重要收藏有畢卡索︽亞維儂姑娘︾、莫內︽睡蓮︾、梵谷︽星夜︾等。 ────────────────── 馬約爾： Aristide Maillol ，一八六一一九四四，法裔加泰隆尼亞雕刻家。

馬約爾很早就決定要成為一個畫家，早年作品受到高更和夏凡那︵ Pierre Pu︶影響，然而他後來轉向雕刻的方向。馬約爾大部分的成熟 vis de Chavannes 作品都是用古典的技法和穩定的結構來塑造女性身體。他的大型青銅作品帶有一種抽象的質感，是後續亨利摩︶和賈寇梅第等人的先驅。 •爾︵ Henry Moore ────────────────── 河：草間在自傳中將這件作品稱為︽浣髮女子︾。

名的作品是那些設置於公共空間的青銅與大理石雕刻。他受托爾特克－馬雅

────────────────── 亨利 • 摩爾： Henry Moore ，一八九八一九八六，英國雕刻家。他最知

︵ Toltec-Maya ︶文化雕像的影響，經常以女性的臥姿當主題，人體造型被抽象簡化，並帶有穿透的孔洞。早期他重視雕塑本身的量體，後來則開始注意空間與實體部分的呼應，創造出一種現代主義的造型。 ────────────────── 尼克森： Richard Milhous Nixon ，一九一三一九九四，美國第三十七任總

統。尼克森是美國史上唯一於在位期間辭職的美國總統，也是唯一當過兩屆總統與兩屆副總統的人。政治觀點保守，致力反共，是麥卡錫主義的擁護與倡導者。在位期間將美軍撤出越南結束越戰、透過桌球活動與中國交好，支持中國

。 Kimi 出生於貧困家 Kimi

生了重病，不適合遠渡重洋，所以又被送到孤兒院去，最 Kimi

庭，所以她的生母把她交付給美國傳教士夫婦收養，希望她能得到更好的生

︽紅鞋子︾：是一首日本童謠，描述一個紅鞋女孩

活。只不過後來後在那裡結束了小小的生命。 ────────────────── 喬瑟夫 • 科奈爾： Joseph Cornell ，一九 ○ 三一九七二，美國藝術家、雕刻家、實驗電影導演，裝配藝術︵ assemblage ︶的先驅。科奈爾很怕生，因此

創作都是自學，很晚才受到藝術界重視。他最具代表性的創作是那些盒狀的裝配藝術作品，這些展示盒一面是玻璃，裡面配置科奈爾收集拼貼的相片或者是各種小東西，呈現出一種精煉又超現實的風格。他的作品呈現出美國超驗主義︵︶、法國象徵主義詩人馬拉美︵ Stéphane Mallarmé ︶ Transcendentalism ︶、基督教科學派︵ Christian Science ︶還有好 Gérard de Nerval 和涅瓦爾︵

萊塢明星的影響。科奈爾相當珍惜那些他在路上撿到的日常殘存的小東西，運

主義者。

用超現實非理性的並置技巧組合出懷舊的氣息，然而他並不認為自己是超現實

────────────────── 如今你走了：君は死して今，草間彌生在自傳中寫有同名的詩，由於詩中略微

帶有文雅的語尾，當時自傳中譯為︿汝死後﹀。 ────────────────── 世田谷美術館：一九八六年開館，目前約有一萬件左右之典藏。主要收藏領域

包括素樸派作品、北大路魯山人作品及與居住在世田谷區藝術家作品。 ────────────────── 野性時代新人文學獎：︽野性時代︾是角川書店發行的娛樂藝文雜誌，創刊於

一九七四年。中途一度於一九九六年停刊，後來於二 ○○ 三年重新創刊。近年來許多輕小說作家也成為該雜誌的寫作班底，如乙一、沖方丁、櫻庭一樹等。草間得獎時還是在舊版︽野性時代︾的時代，現今這個獎項稱為野性時代先鋒文學獎。 ────────────────── 中上健次：一九四六一九九二，日本小說家。出生於日本的賤民階級，早期文體受大江健三郎影響，後來柄谷行人推薦他讀福克納，轉而以家鄉紀州

作品有很大的影響，是戰後出生的世代當中第一個得芥川獎的作家。代表作有

熊野進行創作。複雜的出身背景、成長經歷、還有從事肉體勞動的經驗對他的

︽岬︾、︽枯木灘︾等。 ────────────────── 三田誠廣：一九四八，日本小說家。任職廣告公司時以撰寫學運經驗的作品︽我算什麼︾獲芥川獎，之後於早稻田大學任教，並任武藏野大學客座教授。三田獲得芥川獎之後，被視為日本戰後嬰兒潮世代的旗手，以家庭和教育為主題撰寫了許多相關隨筆與小說，近年則是對高齡老化多有著墨。對於理科和宗教也有研究，有許多相關著作。

加入聯合國，並設立美國國家環保局，最後因為﹁水門案﹂醜聞下台。 ────────────────── 威尼斯雙年展： Venice Biennale ，創立於一八九五年，是全世界最大的國際

當代藝術展之一。起初這個活動以裝飾藝術為主，後來各個國家開始設立國家館，關注焦點也轉向當代藝術，成為國際藝術盛會。威尼斯國際影展、威尼斯建築雙年展、戲劇節、音樂節等都是涵蓋其中的周邊活動。 ────────────────── 橫濱三年展二 ○○ 一：始自二 ○○ 一年的國際當代藝術博覽會，每三年於橫濱五開幕。第三屆正常於二 ○○

召開。然而由於資金問題以及會場狀況等因素，第二屆無法如期在二 ○○ 四年八舉行，第四屆在二 ○ ○○

一一年召開。

舉行，移到隔年二

────────────────── 振袖和服：日本和服的樣式之一，特徵是袖子有長如翅膀的下襬。現在通常是

日本未婚女性在儀式或祭典穿著的正式服裝，會因應會面場合與對象選擇適合

──────────────────

的風格。

羅伯特米，位於美國紐約的當代藝廊。旗下 •勒畫廊： Robert Miller Gallery 藝術家有義大利攝影家沃爾特 • 尼德邁、詩意龐克搖滾教母派蒂 • 史密斯等。

────────────────── 加戈西安畫廊：由 Larry Gagosian 創辦的 Gagosian Gallery ，不僅是擁有高

值籌碼的產業領導品牌，旗下收藏皆是出自 Andy Warhol 、 Damien Hirst 、、 Picasso 等第一流藝術家之手，單筆交易金額動輒上億，可謂藝 Jeff Koons 術交易領域裡的頭牌巨星。

──────────────────

────────────────── 西丸四方：一九一 ○二 ○○ 二。日本醫學家、精神醫師，專精精神病理學。

京都市立美術工藝學校：草間彌生就讀的美術工藝科於一九八 ○ 年從京都市立日吉吉丘高中獨立，遷到京都市立銅駝尋常小學的舊地，更名為京都市立銅駝

美術工藝高等學校。 ────────────────── 岩彩：岩絵具。傳統日本畫的主要粉末顏料，由辰砂、孔雀石之類的礦物磨碎

顆粒大小可以調出不同的色澤，這樣完成的圖畫就是一般所謂的膠彩畫。

製作而成。這些粉末無法直接附著在畫紙上，必須搭配膠來固定，不同的粉末

────────────────── 東京國立現代美術館：東京国立近代美術館，包含美術館、工藝館以及影像中

術館是日本第一座開始主動收藏館藏的美術館。主要館藏為明治時期後半至今

心。早年日本策畫展覽都是以企畫為首，四處收集借調展品，東京國立近代美

的近現代藝術品。 ──────────────────

────────────────── 高橋三千綱：一九四八，日本小說家。年輕時曾任體育新聞記者，以︽殺時

寫許多劍豪小說。

間︾獲群像新人文學獎、︽九月天︾獲芥川獎。創作許多漫畫作品，近年來也撰

────────────────── 宮本輝：一九四七，日本小說家。年輕時曾在廣告公司任職，後來因為精神

螢川 •

道頓堀川︾、︽流 •

恐慌症對工作生涯產生畏懼決定開始寫小說，以︽泥河︾獲太宰治獎，次年以

轉之海︾系列等。

︽螢川︾獲芥川獎，奠定作家的地位。代表作有︽泥川

────────────────── 村上龍：一九五二，日本小說家。就學期間即以描寫耽溺性與迷幻藥的︽近

家身分，與村上春樹共同被認為是具有時代代表性的作家。代表作有︽近乎無

乎無限透明的藍︾奪得群像新人獎以及芥川獎。以身為深受嬉皮文化影響的作

──────────────────

限透明的藍︾、︽愛與幻想的法西斯︾、︽離開半島︾等。

出版： PARCO 公司是專門經營大型百貨商場的集團，這間出版社是 PARCO 公司旗下兼營的文化事業之一，以生活大眾流行讀物為主。 ────────────────── 作品社：創立於一九七九年，專門出版硬派人文社會科學作品的日本出版社。 ────────────────── 而立書房：位於御茶水的硬派文藝出版社，出版面向涵蓋社科、文學、戲劇、哲學等。 ────────────────── 工作舍：專精科學、社科、文藝的日本出版社。 ────────────────── 中澤新一：日本人類學者，二 ○ 一二年二月與社會學學者宮台真司等人成立草根運動組織﹁綠色行動﹂︵ Green Activity ︶。

阿鐸的︿塔拉胡馬拉 •

────────────────── 沛遊特工房：ペヨトル工房，今野裕一於一九七八年創立的出版社，專門出版幻想文學和藝術相關領域書籍。出版社名稱來自於安端

年解散，然而 ○○○

之旅﹀︵ D’un voyage au pays des Tarahumaras ︶指一種帶有迷幻藥效的仙人掌 Peyotl 。沛遊特工房最具代表性的刊物為地下另類藝文期刊︽夜想︾，對八年代日本次文化有相當大的影響。雖然後來出版社於二 ○ 仍有相當多死忠支持者接棒推廣延續至今。

────────────────── 淺田彰：一九五七，京都造型藝術大學校長，藝文評論家。二十六歲時，他

創下大賣十五萬冊的佳績，引發淺田彰現象成為文化偶像。他橫跨菁英和大眾

以圖表參考書的方式暢談結構與後結構主義出版︽結構與力︾，在青年讀者群中

文化的姿態打破時代的僵局，積極於哲學、音樂、建築、文學、攝影、繪畫等

228 229

37 38 39 40 41 42 43 44 45 53 54 55

56 57

30 31 32 33 34 35 36 46 47 48 49 50 51

各領域撰寫評論與介紹，並與柄谷行人共同編輯︽批評空間︾，參與籌備傳播交流中心等，積極在日本文化界進行各種反思與批判。

洛伊 •

術館共有五處，分別是：美國紐約、德國柏林、西班牙畢爾包、義大利威尼斯和阿拉伯聯合大公國的阿布達比。紐約是其中最早的一座，由法蘭克

將其收藏捐給博物館， Daniël George van Beuningen

三年十月開幕， ○○

一九二七︶所設立的文學獎，並由主辦單位文藝春秋頒發給純文學

熊本市當代藝術館：是九州第一座以現代美術命名的美術館，二 ○○ 二年開館，館內有草間彌生、宮島達男等四位國際著名現代藝術家的裝置藝術品展出。

──────────────────

────────────────── 荒木經惟：一九四 ○ 年生，當代藝術家、攝影家。

新人作家的一個獎項；現今的主辦單位已改為日本文學振興會。

︵一八九二

────────────────── 芥川獎：正式名稱為芥川龍之介獎，乃是紀念日本大正時代的文豪芥川龍之介

理查 • 格勒克曼︵ Richard Gluckman ︶規畫設計，於二主要以當代藝術的策展企畫為主。

術館正視這座藝術中心的核心。由紐約惠特尼博物館以及柏林古根漢美術館的

────────────────── 森美術館：東京六本木丘森 TOWER 第五十三樓設有森 Arts Center ，這座美

展的金獅獎。

二 ○○ 四年十月九日，建築師為 SANAA 事務所，主要的設計概念來自事務所中的女性建築師妹島和世。此美術館峻工前一個月，就獲得了威尼斯建築雙年

────────────────── 金澤世紀美術館：一家位於日本石川縣金澤市市中心的現代美術館，開館於

────────────────── 彼得 • 蓋布瑞爾： Peter Gabriel ，一九五 ○ 年生，英國歌手、詞曲創作家。

：二 ○○ 七年七月成立的環保組織。 More Trees

──────────────────

橋幸宏所組建的前衛時髦電子合成樂團。

────────────────── ： Yellow Magic Orchestra ，日本音樂家坂本龍一、細野晴臣以及高

身其中的感受。

中。藝術家運用這樣的概念讓人以感官來體會整個虛擬實境，產生彷彿真的置

────────────────── 沉浸藝術： immersive art ，沉浸的概念常用在虛擬實境、裝置藝術和遊戲

博物館遂以其姓氏名之。

一九五八年，企業家

波伊曼 • 凡 • 貝尼根博物館： Museum Boijmans Van Beuningen ，鹿特丹最具規模的博物館。一八四七年成立，一八六四年大火，館藏幾乎付之一炬。

──────────────────

喬納珊 • 密斯： Jonathan Meese ，一九七 ○ 年生於東京，是一位德國藝術家，專項是繪畫、雕塑及裝置藝術。展品主要在柏林及漢堡展出。

內基美術館館長。

琳 • 捷雷凡斯基： Lynn Zelevansky ，土生土長的紐約客，大學唸的是賓州卡內基美倫大學，之後在紐約大學取得藝術史碩士學位，並在大學任教。現任卡

──────────────────

陶藝為主。

：一九九一年成立的一家一郎，位於新加坡，展品以現代雕塑、繪畫及 ART-2

──────────────────

萊特設計，是萊特在紐約唯一的作品。

•

────────────────── 古根漢美術館： Guggenheim Museum ，目前古根漢基金會旗下的古根漢美

美術館︵ Tate Modern ︶。

瑞士巴塞爾。它的創辦人雅克 • 赫爾佐格︵ Jacques Herzog ︶和皮埃爾 • 德 • 梅隆︵ Pierre de Meuron ︶都曾就讀於蘇黎世聯邦理工學院。他們最為著名的作品是將巨大的倫敦河岸發電站︵ Bankside Power Station ︶改造為泰特現代

────────────────── 赫爾佐格和德梅隆： Herzog & de Meuron ，建築事務所，一九七八年成立於

────────────────── 莎拉 • 墨利斯： Sarah Morris ，英裔美籍藝術家。

有涉獵。

────────────────── 馬修 • 巴尼： Matthew Barney ，美國藝術家，雕塑、攝影、繪畫、電影，均

────────────────── 馬利歐 • 梅茲： Mario Merz ，義大利藝術家，專項是雕塑和繪畫。

功績的人。

────────────────── 旭日小綬章：日本國家頒發的一種勳章，現在主要頒發給對公共或國家有顯著

的信念，這一點在當時很重要，因為那樣的女性並不多。﹂

湯姆 • 戴爾： Tom Doyle ，美國雕塑家，他對草間的評價是﹁她開啟了許多可能性，做自己想做的事情，不去顧慮後果或別人怎麼想。她很堅強，堅持自己

──────────────────

視台拍攝過兩部草間彌生紀錄片。

────────────────── 松本貴子：日本導演，一九九五年與草間結識，而後曾為與日本有線電

────────────────── 一百號：畫布的尺寸，約 162×130 公分。

N T T

────────────────── 獨具藝廊： Galerie Piece Unique ，一九八八年成立，之所以如此命名源於當

────────────────── 洛杉磯郡立美術館： Los Angeles County Museum of Art ，美國芝加哥以西

────────────────── 卡內基美術館： Carnegie Museum of Art ，十九世紀美國實業家安德魯 • 卡

萬件。此外，全年皆有舉辦影片以及音樂會演出。

最大、收藏範圍最廣的美術館，館藏展示從史前文明一直到當代藝術，超過十

74 ────────────────── 永恆的愛草間彌生一九五八一九六八：草間彌生在自傳中提及這次展覽以

內基創立，位於匹茲堡。

一 ○

年又回到紐約現代美術館工作。 ○

────────────────── 沃克藝術中心： Walker Art Center ，創設於一八七九年，位於美國明尼蘇達

職。二

羅拉 • 霍普特曼： Laura Hoptman ，一九九五二 ○○ 一於紐約現代美術館擔任助理策展人，之後陸續在卡內基美術館、新美術館︵ New Museum ︶任

──────────────────

位﹂。

及相關巡迴展是她最早也最重要的回顧展，確立自己﹁前衛藝術家的藝術定

76 77 ────────────────── 尚考，法國詩人、小說家、劇作家、設計師、藝術家， •克多： Jean Cocteau 還拍電影。

馬丁 • 克里德： Martin Creed ，英國藝術家、音樂家，二 ○○ 一年以二十七號作品︽ the lights going on and off ︾獲得泰納獎︵ Turner Prize ︶。

──────────────────

────────────────── 理查 • 普林斯： Richard Prince ，美國畫家、攝影家。

授，二 ○○ 四年成為唯一獲頒建築屆最高榮譽普立茲獎的女性。是少數能將建築與繪畫藝術做結合的建築師。

英國建築聯盟︵︶碩士學位，並擔任美國哈佛大學及哥倫比亞大學客座教

────────────────── 札哈 • 哈蒂： Zaha Hadid ，出生在巴格達，於黎巴嫩就讀數學系，之後獲得

湯姆 • 狄克森： Tom Dixon ，一九五九年生於突尼西亞，四歲時舉家遷居英國，是少數沒有受過正統訓練的知名設計師。

──────────────────

放映，是一間綜合性的藝術中心。

當代藝術的美術館之外，表演廳也舉行劇場、舞蹈、音樂等公演節目以及電影

州，是美國五大當代藝術館之一，也是美國中西部第一間公立美術館。除了現

78 79 80 81 82

────────────────── 三宅一生：一九三八年生，日本著名服裝設計師。

初的概念是展示空間每次只展出一位當代藝術家的一件作品。

──────────────────

────────────────── 法蘭茲 • 威斯特： Franz West ，奧地利藝術家，專項是雕塑和繪畫。

83 84

────────────────── 信濃美術館：信濃美術館·東山魁夷館位於長野縣最古老的公園城山公園的一

────────────────── 松本市美術館：二 ○○ 二年月 4開館。是以﹁鑒賞場所﹂、﹁表現場所﹂、﹁學習場

代表作。

角。東山魁夷館展示著︽白馬之森︾、︽夕靜寂︾以及︽綠響︾等東山魁夷畫師的

────────────────── 倍樂生直島藝術園區：ベネッセアートサイト直島，日本知名教育機構倍樂生

所﹂、﹁交流場所﹂為四個支柱、紮根於地區而建立的美術館。

股份有限公司︵ Benesse Corporation ，代表產品之一即為台灣熟悉的︽巧連智︾︶以瀨戶內海的直島及其附近離島為基礎，在海上打造的文化村。包含由安

以及翻修老宅展示裝置作品的﹁家屋計畫﹂等。直島博物館即為相關建築之一。

藤忠雄進行總體規畫的直島藝術園區︵包含博物館以及高級度假旅館等設施︶，

和 Jasper Johns 為代表 Andy Warhol

────────────────── 原美術館：原美術館是以 Arc-en-Ciel 美術財團為主體開設的，收集並展示世界頂級的現代美術作品。收藏品以

的一九五 ○ 年以後的流行藝術、抽象表現主義為主，共有國內外現代美術作品約八百五十件。 ────────────────── 霧島藝術之森：霧島アートの森，日本九州鹿兒島縣有一座霧島屋久國立公園。該公園在標高七百公尺的霧島山台地區規畫了一個名為霧島藝術之森的區

──────────────────

域，是日本少數的開放性戶外美術館。

喬治亞 • 歐姬芙： Georgia O’Keeffe ，一八八七一九八六，美國二十世紀藝術大師，作品已經成為美國繪畫的經典代表。當她描繪那些她最常描繪的主題：骨頭、貝殼、花朵、石頭和風景的時候，她會把這些具體的物品轉化成為強而有力的抽象構圖，並且常在作品中展現同色調的細微變化。 ────────────────── 新達達主義： Neo-Dada ，流行於一九五 ○ 後半至一九六 ○ 年代的美國藝術盧森堡在︽ ARTnews ︾上用這個名詞 • 羅森堡︵ Robert Rauschenberg ︶、傑斯 •

風潮。一九五八年，美國藝評家哈洛來概括一批當代創作，包含羅柏

帕 • 瓊斯︵ Jasper Johns ︶之類的畫家；以及進行乍現︵ happening ︶之類表演藝術活動的艾倫 • 卡普洛︵ Allan Kaprow ︶、克萊斯 • 歐登伯格︵ Claes

年代藝評家羅斯︵ Barbara ○

︶、吉姆 • 戴恩︵ Jim Dine ︶等。這些作品在創作概念和技巧上和 Oldenburg 過去的達達主義有類似之處，使用現成物︵ readymade ︶、廢棄物、拼貼流行元素以及荒謬對比作主題，反對傳統美學。六

230 231

A A

A R C

Y M O 21

100

101

102

103

104

N H K

63 64 65 66 67 68 69 70 71 72 73 85 86 87 88 89 90 91 92 93

︶用這個術語概括當時創作風潮，讓這個名詞更為普及。新達達和一次大 Rose 戰戰前歐洲的達達主義最主要的不同在於達達主義使用現成物等技巧來創作，年 ○ 代，新達達創作者更喜歡使用廢棄物來創作，展現出一種更即興的風格。這些

主要是在進行藝術觀念和語言的實驗，可是在大量生產和消費的美國五

作品被稱之為垃圾藝術︵ Junk Art ︶，既有反藝術的成分在，同時也帶著新觀︶、歐陸新寫實 Fluxus

點。創作者把這些充斥在環境當中的垃圾視為一種新的自然，從中發掘新的美

︶等都在不同脈絡中呼應這股 Pop Art

感，想要塑造一種﹁工業化社會的自然主義﹂。匯流派︵運動︵ Nouveau réalisme ︶、普普藝術︵風潮。亞洲相關藝術家則有赤瀨川原平、小野洋子、白南準、筱原有司男等。

二年，瑞士人瑪莎 ○

史帖特勒︵ Martha Stettler ︶在法國巴黎創 •

────────────────── 大修米耶學院： Académie de la Grande Chaumière ，又譯為大葺頂屋學

院。一九

立了這間藝術學校，藉此對抗法國藝術學院︵ Ecole-des-Beaux-Arts ︶照本宣科的傳統教育方式，推展獨立藝術。一九五七年學校改名為︵ Académie ︶、賈寇梅第︵ Alberto Giacometti ︶、野口勇、熊秉明等。 Calder

︶。許多知名藝術家都曾在此修習，譬如考爾德︵ Alexander Charpentier

────────────────── 安娜堡影展： Ann Arbor Film Festival ，創於一九六三年，每年在美國密西

根州安娜堡舉辦。稱得上是實驗電影歷史最悠久的影展。

────────────────── 布拉格之春：一九六八年一月五日開始的捷克斯洛伐克國內的一場政治民主化

運動。這場運動直到當年八月二十日蘇聯及華約成員國武裝入侵捷克才告終。 ──────────────────

馬歇爾 • 杜象： Marcel Duchamp ，一八八七一九六八，法國美國藝術家，創作生涯和達達主義和超現實主義緊密相關，是二十世紀初藝術圈的話題

────────────────── 尚 • 米榭 • 巴斯奇亞： Jean-Michel Basquiat ，美國藝術家。他先是以紐約塗鴉藝術家的身分獲得大眾認識，後來成為一位成功的一九八 ○ 年代表現主義

藝術家。

延續到八 ○ 年代中期。

────────────────── 新表現主義：七 ○ 年代後期興起的一種現代繪畫及雕塑的風格，其主導力一直

────────────────── 廣場協議： Plaza Accord ，美國、日本、英國、法國、西德等五個工業已開

發國家的財長和央行行長於紐約的廣場飯店秘密會晤後，在一九八五年九月

────────────────── 文化貢獻人士：文化功労者，為了表揚對於文化發展提升有貢獻者，日本政府

在科學技術與藝術文化的發展提升有顯著功績的人。

特別在一九五一年創設文化功勞者彰顯制度的特有文化勳章制度，授與勳章給

────────────────── 三菱地所 ARTIUM ：三菱地所アルティアム，位於福岡，展示不論國內外、

受注目的新進藝術家作品的現代藝術廊。藝術類型包括畫作、相片、立體雕

塑、映像等，相當廣泛。

二十二日簽署的協議。 ────────────────── 福岡北九州市立美術館：由磯崎新設計的美術館，收藏從印象派到當代的藝術

作品。

────────────────── 達米恩 • 赫斯特： Damien Hirst ， 1965 年生於布里斯托，是新一代英國藝術

國當代藝術大獎特納獎。

家的主要代表人物之一。他主導了九 ○ 年代的英國藝術發展並享有很高的國際聲譽。赫斯特在一九八六年九月就讀於倫敦大學金匠學院。一九九五年獲得英

一九九三。成立於紐約，最初目的是想要提供給藝術家、學界和社會大

────────────────── 國際當代美術中心： Center for International Contemporary Arts ，一九

眾一個當代藝術的資訊平台，內容涵蓋電子資料庫、展示和出版。

八六

────────────────── 凱斯 • 哈林： Keith Haring ，一九八 ○ 年代之美國街頭繪畫藝術家和社會運動

者。

────────────────── 藝術選獎文部大臣獎：芸術選奨，分為劇場、電影、音樂、舞蹈、文學、美

發文部科學大臣獎。

術、古典藝術、廣播、大眾娛樂、評論等十個領域。針對各領域的傑出人士頒

────────────────── 村上隆：日本藝術家，受日本動畫和日本漫畫影響而專注於御宅族文化和生活超扁平︵ Superﬂat ︶運動創始人。曾獲東京藝術大 ─

及 PhD 。 MFA

方式的後現代藝術風格

學頒發 BFA 、 ────────────────── 朝日賞：朝日新聞創設的獎項，頒發給對文化社會發展有貢獻的人士。

────────────────── 法國藝術文化勳章軍官章：一九五七年由法國文化部創設。主要用以表揚藝

────────────────── 靛綬褒章：日本政府獎章，主要頒發給有益公益捐贈財物的人士。

人物，也是概念藝術的先驅。他曾為佩姬 • 古根漢等現代藝術收藏家提供建言，從旁塑造了當年的西方藝術品味。杜象的作品和文章都不多，他主要是透

118

名為︽噴泉︾展出，或者把現成的日常事物組合成︽腳踏車輪︾。

過顛覆藝術創造的流程和藝術市場欣賞的方式來發揮影響力，譬如把小便斗命

119 ────────────────── 惠特尼雙年展： Whitney Biennial ，於美國紐約惠特尼博物館展出，兩年一

術、文學及其相關推廣人士。

120 ────────────────── 高松宮殿下紀念世界文化獎：一九八八年，日本美術協會為紀念前一年薨逝的

次，展品以年輕、知名度不高的藝術家作品為主。

121 獎﹂為目標。

刻、建築、音樂、劇場

電影五種，每年頒發。以成為﹁文化藝術界的諾貝爾

協會總裁高松宮宣仁親王，因此設立此文化獎。所頒發的獎項分為繪畫、雕

122

232 233

112 113 114 115 116 117

105 106 107 108 109 110 111 123 124

家之一﹂︵亞洲唯二入選︶，曾獲頒美國終生成就獎、法國藝術及文學騎士勳章等殊

草間彌生 │YAYOI KUSAMA│ 一九二九年三月二十二日圓點︵ polka dot ︶的創造者，英國︽泰晤士報︾選為﹁二十世紀兩百名最偉大的藝術譯接洽、以及日本當代藝術大師草間彌生、橫尾忠則、安藤忠雄等自傳。評論、散

譯，包含蘆川羊子、天野喜孝、村田蓮爾、村上龍等創作者之展演

鄭衍偉 │ 譯者英日譯者、劇場編導、策展企劃、文字創作者。近年著力於次文化跨界藝術相關翻

從恐懼中解放出來。她從沒想到自我消融的原點，會成為她征服世界的秘密武器。

十歲即立志當藝術家的草間，從小為幻覺所苦，不斷反覆繪製圓點，是為了讓自己

博物館等相關展演策劃。曾獲台灣文學獎劇本創作首獎、台北文學獎散文獎。

演作品。同時協力參與台灣文學館、鳳甲美術館、台北國際書展動漫館、台灣歷史

擊領域，並與朱宗慶打擊樂團、國光劇團等表演團體合作，於國家戲劇院等劇場搬

文、翻譯與小說創作散見中港台三地媒體，涵蓋文藝、動漫、設計、劇場、綠色游

作品翻譯與口

榮，作品不斷在世界各地展出，並被近百所美術館典藏。

終於在畫家歐姬芙的激勵下隻身前往。隔年在紐約以白色巨幅的︿無限的網﹀造成

在母親反對、日本保守風氣的禁錮下，草間一心想逃脫至美國發展，一九五七年，

轟動，而裸身趴在網點前的影像成為她永存人心的標記。五十年後，這幅︽ No.2 ︾油畫，在佳士得拍賣中心以近六億日圓賣出，創下她作品最高價的歷史。 ○○○ 一二年與出版社合作，自創 ○

王志弘 │ 選書 • 設計 │wangzhihong.com 一九七五年生於台北。一九九五年復興商工廣告設計科︵補校︶畢業，二

○○ ○ 一九九 ○○—

。

二 —五八 ○ 二五七八 —

六二三一 — 九三三七 —

︶設計大獎葛西薰評審獎與銀

hkcite@biznetvigator.com

Jalan 30D/146, Desa Tasik, Sungai

Cite (M) Sdn. Bhd. (458372 U) 11,

七 ○

三八三三 — 二八三三 —

五六 ○ 五六 ○

Besi, 57000 Kuala Lumpur, Malaysia 九 — 九 —

citekl@cite.com.tw

三 ○ 三 ○

電話：六傳真：六

一二年十一月六日 ○

電子信箱：初版一刷：二

元整 ○

翻印必究︵ Printed in Taiwan ︶ • 國際標準書號：九七八 — 九八六 — 二三五 — 二

定價：新台幣四二

本書如有缺頁、破損、倒裝，請寄回更換。 ※

六 —

馬新發行：城邦︵馬新︶出版集團

電子信箱：

傳真：八五二

電話：八五二

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香港發行：城邦︵香港︶出版集團

909.931

101016285

助她的回顧展，她的經典作品也躍上系列商品，還延伸到五大陸四百多個點的櫥窗

○一二：

七七一八 ○○— 七七一九 ○○—

台北市民生東路二段一四一號二樓讀者服務專線： ○ 二 — 二五

九：三 ○

二 — 二五 ○ 服務時間：週一至週五

一三：三 ○一七：三二十四小時傳真服務： ○ 二 — 二五

三八一三書虫股份有限公司 —

http://www.faces.com.tw

http://www.cite.com.tw 臉譜推理星空網址：

城邦網址：

英屬蓋曼群島商家庭傳媒股份有限公司城邦分公司

劃撥帳號：一九八六

二 — 二五 ○○— 一九九一 ○ 讀者服務電子信箱： service@readingclub.com.tw

○

發行：英屬蓋曼群島商家庭傳媒股份有限公司城邦分公司

出版：臉譜出版

選書 • 設計：王志弘發行人：凃玉雲

譯者：鄭衍偉

編輯部作者： Pen

We Love Yayoi Kusama.

就是喜歡！草間彌生。やっぱり好きだ！草間彌生。

Source 2

奇幻圓點，草間彌生為自己也為世人創造了一個單純又複雜的謎樣世界。

────────────────────

──────────────────── 草間彌生藝術評論作品集日本

就是喜歡！草間彌生。編輯部著：鄭衍偉譯 ─ 初版 ─ 臺北市：臉譜出版 Pen 家庭傳媒城邦分公司發行， 2012.11面；公分 ─ ︵ SOURCE:︶ 2 譯自：やっぱり好きだ！草間彌生。 ISBN 978-986-235-207-6 ︵平裝︶

────────────────────

國家圖書館出版品預行編目資料

獎，並入選東京

國際書展金蝶獎之金獎、香港設計師協會︵

惟、原研哉、草間彌生、佐藤卓、橫尾忠則等人之著作。設計作品曾六度獲台北

、 SOURCE 書系，以設計、藝術為主題，引介如佐藤可士和、荒木經 INSIGHT

八年、二 ○○

草間以﹁我是前衛藝術家﹂自稱，思想作風比開放的西方更開放，總是走在潮流之年成立個人工作室，並先後於二

雕塑是她對性的抗議和治療，而令世人嘆為觀止的乍現活動，則成為反戰反體制的

前，開風氣之先。因父親浪蕩成性，草間自小對性產生厭惡與恐懼，陽具凸起的軟

象徵。離經判道的草間，在六 ○ 年代嬉皮文化風起雲湧之際，儼然是眾人眼中的﹁嬉皮女神﹂。她同時也是極簡藝術和普普藝術的先趨。

並在附近的工作室專心創作至今。從二次元到三次元，從平面、雕塑到裝置藝術，

在西方藝壇闖蕩成名後，草間於一九七三年回到日本，自願住進精神療養院治療，

草間藝術的寬廣無人所及，而她與生俱來的才情，也在文學創作上展現無遺。

二部作品︽克里斯多夫男娼窟︾拿下第十屆野性時代新人文學獎，二 ○○ 二年出版

一九七八年，她以小說︽曼哈頓自殺未遂慣行犯︾在文壇初試啼聲，五年後就以第

第一本自傳︽無限的網︾，至今已有二十餘部作品。

H K D A

裡，甚至在倫敦 Selfridges 百貨正門上方高掛四尺高草間塑像，吸引全球目光。

二 ○ 一二年可謂全球草間年，大阪、馬德里、巴黎、倫敦、一路到紐約，都瘋狂地展開圓點的狂歡派對。法國時尚領導品牌 LOUIS VUITTON 與草間合作，除了贊

T D C

YAPPARI SUKIDA! KUSAMA YAYOI. やっぱり好きだ！草間彌生。

by PEN MAGAZINE Copyright©2011 by PEN MAGAZINE Original Japanese edition published by Hankyu Communications Co., Ltd. Chinese (in Traditional character only) translation rights arranged with Hankyu Communications Co., Ltd. through BARDON-CHINESE MEDIA AGENCY, Taipei All rights reserved.