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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 王志弘 ╱ 選書 • 設計 Pen
臉譜出版
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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。
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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.
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愛抵達地球，帶著宇宙的故事 二○○九年│壓克力、畫布│130.3×162cm
Love Arrives at the Earth Carrying with it a Tale of the Cosmos
2009│Acrylic on canvas│130.3×162cm
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就是喜歡！草間彌生。 やっぱり好きだ！草間彌生。
草間彌生
草間彌生
ヤオイクサマのオブッセション。 ─
圓點的執念。 ─
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We Love Yayoi Kusama.
目次 中文版導讀
Yayoi Kusama – Obsession. 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。町中へ飛
單純又複雜
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Reason for Yayoi
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Kusama’s worldwide recognition. 揭 開「 圓 點 」當 中 蘊 含 的 意 義。 水 玉 に 込 め
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。
び出す、カラフルなドット。 Colorful dots jumping out into the town. 草間彌
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られた意味を、解き明かす。 Finding meaning encapsulated in dots. 和強迫
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obsession. 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。
症 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
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Happenings that stirred up reactions from everyone. 沒有比「鏡面」更棒的
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媒材。この上なく素晴らしい、 「鏡」という素材。 As a material, there is nothing
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次 元 の ア ー ト。
more wonderful as the “mirror”. 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、
Three-dimensional art spreading to large
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spaces and the outside. 追 尋 少 女 失 落 的 幸 福。 か な わ な か っ た、 少 女 の 幸 せ
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を求めて。 Yearning for a young girl’s happiness that eluded her. 松本時
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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. 「 草 間 時 裝 」推 展 到 全 美 各 “Kusama Fashion” 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、版画の世
地。 全 米 で 展 開 さ れ た、 「 ク サ マ・ フ ァ ッ シ ョ ン 」。
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Dead loved
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ones appearing in and out of the shadows of collages. 舉 世 無 雙 的 創 造 力
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。
界。 The world of printmaking: endless propagation of vivid ima-gery. 愛
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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。
shows hitherto unknown face of “genius”. 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。
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Intimate film
proves fertile ground for her unparalleled creative power. 貼身拍攝顯現「天
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。 Literature also
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Kusama’s works loved by connoisseurs around the world. 我最喜歡的特質 是
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...
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Art spots to encounter masterpieces in Japan.
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。
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chandise that are all irresistible. ─────────────────── 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
an endlessly charismatic artist. 草間對於創作的追尋到死也不會結束。草間の 219
求道は、死しても終わらない。 Kusama’s pursuit of truth will never end even
after her death.
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就是喜歡！草間彌生。 やっぱり好きだ！草間彌生。
We Love Yayoi Kusama.
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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
President of Kyoto City University of Arts
。﹂ ︵引 自 一 九 五 五 年
進， 才 使 得 她 的 世 界 變 得 無 窮 豐 富， 創 造 出 不 可 勝 數 的
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
不 在 乎 遭 到 孤 立， 勇 敢 向 前 邁 進。 在 迎 接 八 十 歲 的 同
家 草 間 彌 生。﹂她 否 定 既 成 秩 序、 不 停 創 新， 並 且 完 全
草間小姐在公眾面前屢屢這樣宣布：﹁我是前衛藝術
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
︽藝術新潮︾草間彌生寫的︿新人投書 傻子伊凡 ﹀︶
時，激烈的創造精神依舊在她內心不斷翻騰。對於那些
她自身的幻視體驗。她為了擺脫那種籠罩自己的恐懼，
純。不論是用圓點圖案或網點填滿畫面的圖畫，還是用
認 定 前 衛 這 個 字 眼 已 經 過 氣 的 人 來 說， 這 聽 起 來 或 許
︶的驅使，才會無盡反覆這樣的 obsession
只好將那些美麗又不穩定的意象轉化成為畫面。她受到 內在強迫症︵
行 為， 透 過 這 種 反 覆 的 過 程， 她 可 以 把 自 己 從 壓 抑 的 心
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
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
大愛。那種異常的執念，可以說是透過某種神祕的迴路
是， 正 因 為 她 是 以 邊 緣 人︵
︶ 的身分孤獨前 outsider
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
例外。
相當不可思議，然而草間彌生本身就是一個不合常理的
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的 敵 人， 卻 更 是 創 作 的 戰 友
﹁我 會 持 續 創 作 直 到 惡 魔 認 輸。 因 為 惡 魔 雖 然 是 藝 術
Simple but complex – the enigma of Kusama’s world.
建畠晢 1 Akira Tatehata
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二○一○年八月國際藝術節「愛知三 年展二○一○ 4」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。
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.
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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《愛會長長久久，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.
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宇宙中的圓點南瓜 二○一○年│複合媒材│
230×Φ200cm ─ 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。
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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.
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黃樹╱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.
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自二○一○年十二月起，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。」
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.”
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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。
Reason for Yayoi Kusama’s worldwide recognition.
大家經常標舉﹁圓點﹂ ︵參 見 第
頁︶作為草間彌生代
表 性 的 形 式 之 一， 不 過︽ No.2 ︾繪 製 的 白 色 的﹁網﹂和
八年十一月。權威的佳士得拍賣中心召 ○○
開 競 標。 雷 曼 兄 弟 才 剛 倒 閉， 這 場 拍 賣 除 了 藝 術 界 之
圓 點 是﹁圖 與 地﹂的 關 係， 也 是 她 相 當 具 代 表 性 的 一 種
紐 約， 二
外，還受到全世界的媒體關注。草間彌生於一九五九年 ︾ ︵參 見 第 No.2
年 代 末 的 紐 約， 單 單 這 件 事 情 應 該 就 會 讓 人 感 ○
有好幾次不得不打電話叫救護車。一個日本女子獨自生 活在五
受到很大的壓力。此外，前途茫茫的她還必須要對抗那
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。
︾原 本 預 估 No.2 萬日圓︶，大幅超越相關人 ○○
些幻覺。無論是肉體上還是精神上，賭上一切去描繪那
美元︵約五億五四 ○○○
士預期。在所有草間作品當中創下最高價的歷史紀錄。
舉 辦 滿 心 期 盼 的﹁草 間 彌 生﹂個 展。 白 色 的 網 狀 漩
悶 悶 不 樂 的 日 本 生 活， 希 望 可 以 在 國 外 獲 得 自 由， 但 在
觀的群眾。研究畢卡索的多爾
渦 畫 在 五 幅 塞 滿 空 間 的 巨 大 畫 布 上， 定 住 所 有 到 場 參
廊
現實當中卻日復一日遭遇更多煩惱。她必須接二連三克
刻家身分的唐納
草間是在移居紐約的第二年繪製出這張作品。她擺脫
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。
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等等藝評家都發表文字大力稱 12
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
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價是二五
現在房間當中或者是身體上。草間彌生陷入恐慌，曾經
表現手法。有時候白色的網點會跳出畫布，甚至延伸出
繪製的油畫︽ 話題的作品。
二十％，
頁︶是場上引發最多
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萬 美 元， 最 終 結 標 價 卻 是 五 百 七 十 九 萬 二 ○
是 相 當 保 留。 儘 管 是 在 這 樣 的 時 局，︽
即 使 價 格 落 到 平 時 預 估 價 的 百 分 之 五 十， 買 家 出 手 都 還
由 於 經 濟 不 景 氣， 結 標 價 格 普 遍 跌 落 十 五
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是不停在巨大的帆布上繪製白色的網，直到三更半夜。
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圖片提供：佳士得 ©Christie’s Images Limited 2011
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 13），未來成為 ty Nets」 她代表性的主題之一。《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。 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.
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圖片提供：佳士得 ©Christie’s Images Limited 2011
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 page 76-77). 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 page 84), 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 seven-figure prices Yayoi Kusama has since toured countries worldwide continuously being avant-garde.
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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。
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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.
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。
原始攝影：Harrie Verstappen
Finding meaning encapsulated in dots.
18.2×24cm│作者自藏
─ 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。
Self Obliteration 1967│ Ink on black & white photograph 18.2×24cm│ Collection of the artist ─ From 1967 to 68, 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.
了維 繫內心平靜沉浸在繪畫當中，給她貼上﹁畫圖的
深的影響。生於鄉村名門，想法封建的母親看到女兒為
另 一 方 面， 草 間 的 家 庭 環 境 對 於 這 些 圓 點 誕 生 也 有 很
創作藝術才能夠讓我從這種病裡面康復。﹂
覺，挺身對抗自己的疾病。草間自己表示：﹁只有持續
來。 她 以 觀 察 入 微 的 方 式 對 待 這 些 鋪 天 蓋 地 的 圓 點 幻
這 些 幻 覺 的 時 候， 卻 是 拿 起 自 己 的 筆 將 這 些 景 象 記 錄 下
一 般 來 說 應 該 會 想 要 把 眼 睛 和 耳 朵 塞 住， 然 而 她 在 面 對
體 和 整 個 宇 宙。 假 使 是 成 人︵更 何 況 又 是 小 孩 的 話︶，
嚷， 接 下 來 是 物 質 的 形 狀 解 體 化 成 圓 點 擴 散 到 房 間、 身
露 出 人 類 的 臉 孔， 對 她 說 話， 狗 也 用 人 類 的 語 言 對 她 嚷
她小時候就罹患強迫症，遭受幻覺所苦。堇花會突然
什麼草間會拘泥圓點到這個地步，長年不停畫它呢？
她十歲畫的母親肖像當中，就已經畫出無數的圓點。為
對於草間彌生來說，圓點不單只是一種創作主題。在
的作品當中，它卻顯現出一種征服觀眾的強烈存在感。
點 被 當 成 是 相 當 具 代 表 性 的 可 愛 元 素， 然 而 在 草 間 彌 生
﹁圓點﹂，這可以說是草間彌生的代名詞。一般而言圓
自我消融 一九六七年│墨水、黑白相片│
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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
頁︶
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。
她 在 紐 約 第 一 次 個 展 發 表﹁無 限 的 網﹂ ︵參 見 第
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
察自己生命這一個點。我的命也是一個點，是億萬粒子
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。﹂
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放蕩。
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點。﹁管你是畢卡索 還是馬諦斯 ，放馬過來吧！我要
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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
用這個圓點來迎戰。﹂
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作品的骨幹顯現出，生命的喜悅、傷痛與快感
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
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“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 page 78) 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.
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無限鏡屋─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.
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攝影：Rudolph Burckhardt
和強迫症相互抗衡的﹁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 ○
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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 突 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﹁積 累﹂系 列 的 雕 塑 作 品。 這 件 立 體 作 品 在 兩 個 意 義
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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
─ 障礙的反饋。回顧過去，她從少女時代開始就對性懷抱
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。 發 表︽積 聚
著厭惡和恐懼。為了超越這樣的強迫症，她大量製作陽
史坦畫廊 •
千 舟 連 翩︾。 展 間 中 央 設 置 一 艘 綴 滿 無 數 陽 具 突 起 物 的
具這性的象徵，透過這樣的行為來療癒自己的心。草間
次 年， 草 間 在 紐 約 葛 楚
小 船， 然 後 用 九 百 九 十 九 張 這 艘 船 的 單 色 海 報 覆 蓋 貼 滿
﹁我一天到晚都在製造這些令人生畏的形象，藉此克
在自傳︽無限的網︾當中曾經這樣談陽具：
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牆壁和天花板，創造出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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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. But why the phallus? This is said to be the reversal of a complex. From her childhood,
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 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）。 陽具型的突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 (Deposited 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.
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攝影：上野則宏（Norijiro Ueno）
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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
﹂ Let’s make love!
全 裸 出 現 在 現 場， 走 近 雕 刻 突 然 開 始 親 熱。 草 間 彌 生 就 站 在 旁 邊。 她 反 覆 在 旁 嚷 嚷 ：﹁
對在場的群眾說明：﹁這是一場藉藝術之名打垮權威的
的乍現演出│ 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
家認為戰爭和性解放哪一種比較好？﹂
草間描述當時受到傳統刻板印象束縛的人們﹁將近窒
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
化， 以 這 為 基 礎 進 一 步 推 展 延 伸， 針 對 席 捲 當 年 的 社 會
︶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，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
乍現活動會隨不同的空間演出各式各樣的內容，不過
草間
各個領域的權威象徵，這就是證明。
行動！﹂
MoMA雕刻庭院噴水池
圖案。有時候她也會用明滅的燈光來呈現整個空間，讓
草間彌生的乍現行動主要集中在六
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。 •
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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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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
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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.
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”.
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36 攝影：Akira Sakaguchi
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
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 100). 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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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
︶ ︵別 名﹁永 恆 Kusama’s Peep Show
︶︶， 這 次 展 覽 發 表 的︽愛 Endless Love Show
彌 生 的 窺 探 秀﹂ ︵ 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
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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
有 力 ， 不 過 草 間 做 的 不 僅 於 此。 她 進 行 表 演 ， 以 一 顆
觀眾也成為作品的一部分。單是做到這個地步就已經很
景。鏡球上同時映照出草間本身還有觀眾們的身影，讓
久久︾這件作品增生光線，那麼︽自戀庭園︾就是複製風
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
帶 入情境當中，進而大力批判當年商業主義橫行的藝術
︶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
市場。
進 入 二 十 一 世 紀 之 後， 她 也 繼 續 運 用 鏡 球 創 作。﹁橫
濱三年展二 ○○ 一 ﹂她推出︽攬鏡自照之海︾，在海面
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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
Love Forever 1966 ─ Exhibited at the solo exhibition “ Kusama ’ s Peepshow ” (otherwise known as “ Endless Love Show”). In image of infinity was expressed by cladding the inside of the room with mirrors and flashing lamps. Paper circles with “ Love Forever ” written on them were distributed to visitors.
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世 界﹂。 要 將 草 間 彌 生 的 世 界 觀 具 象 化， 鏡 子 是 非 常 重
─ 這件作品發表於個展「草間彌生的窺 探秀」 （別名「永恆的愛」）。草間在室 內 敷 滿 鏡 子， 讓 燈 泡 閃 爍， 創 造 出 無 限 延 伸 的 景 象。 現 場 還 發 放 寫著「Love Forever」的圓形紙片給 觀眾。
要的一種媒材。
愛會長長久久 一九六六年
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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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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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
愛會長長久久（TAOW） 二○○四年│筆、畫布│
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︽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。
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！︾
年代就已經做過名為︽愛會長長 ○
的少女和狗狗應該是為了要讓她休息放鬆所以才會出現
久 久︾的 燈 飾 裝 置︵參 見 第 是這件作品的延伸。她認為自己的圓點從早期一直到現
在她身邊吧。︵青野尚子︶
作 品 圓 點 代 表 恐 懼， 另 一 件 作 品 圓 點 代 表 喜 悅， 相 對 來
在﹁包 含 了 快 樂 與 悲 傷 等 等 一 切 的 情 感﹂。 不 是 說 某 件
110
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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 110) 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.
嗨，你好！ 「Kusamatrix」展的裝置│ 二○○四年│複合媒材│ 尺寸可變 ─ 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。
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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.
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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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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”. ─────────────────── 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│1998│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. │ 1999 │ 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.
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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.
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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
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│ 草間出色地描繪出一個麻藥與男色交織的世界，榮獲第十屆野性時代新人 文學獎。
狂的性愛、死亡與幻覺栩栩如生交織在一起。
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.
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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)│ 1978 │ Kousakusha, Tokyo (In Japanese) │ A work centrally written in colloquial language writing of pleasurable days mixed with inclusions of her poems.
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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。
Special charm that enthralls even major collectors.
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
至還寫信給草間彌生。後來收到的回信口吻相當親密，
草間的眼睛在看世界的感覺。」她受這件作品感動，甚
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
感覺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
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
日常生活的樣子相當震撼。」讓人感受到她對這件作品
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
的愛。
「她對性的表現非常直接，完全不加掩飾。大膽感性
草間彌生的作品。
同時，死亡總是在旁虎視眈眈。」草間彌生的作品具備
死世界的小船就像是草間彌生本人一樣。「貪戀生命的
聚─千舟連翩》。因為她認為這艘綴滿突起物往返生
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
http://www.sammlung-goetz.de/
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。
迷。（河內秀子）
相當特殊的魅力，連這位世界知名的收藏家都為之著
蓋茲從六○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 Obsession），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
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.
沒有料到是日本女性畫家的作品。」
一九九四年，蓋茲第一次在紐約的畫廊展示當中看到
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： 《夏日終結》 （一九八○年） 、 《聚集 （一九六七年） 、由兒童型模特兒和椅 1》 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 (1 9 8 0), Accreation 1 (1967), Untitled (child mannequin and a stool) (1966).
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私人美術館「Sammlung Goetz」。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. The tranquil building was designed by Herzog & de Meuron. It regularly holds special exhibitions.
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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 (1980), 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。蓋茲說： 「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.”
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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 77。 二 ○ ○ 九 年 就 任 卡 內 基 美 術 館 78 館長。著有多本藝術評論領域相關 著作。
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.
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 二十公分的鏡球，是琳•捷雷凡斯基最 讚賞的草間作品之一。
Installation scene: Narcissus Garden (1966). The installation used 1,500, 20 cm-diameter mirror balls. This is one of Kusama ’ s works that Zelevansky most praises.
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Legendary Instigator Behind Kusama’s Rise in Status in West.
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。
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 73
設展的展品。當時我看到的草間作品是《圖章的累積
底。當時我任職於紐約現代美術館，正在重新遴選常
「我第一次看到草間彌生的作品是在一九九三年年
人提議後續是否可以前往歐洲巡迴。」
始產生變化。大家開始接觸我們討論相關展示，甚至有
可是，展覽開始之後，就如同我們的預期，她的評價開
生。 「就算標舉出她的名字，大部分的人都不會有反應。
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 76。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」74。 「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 75 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
│United States
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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》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。
Lynn 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.” Lynn 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. Zelevansky 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, Zelevansky 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, Zelevansky, 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. Zelevansky 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. Zelevansky 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 Lynn 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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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。
The adorable polka dot dogs invigorate his life.
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
│United Kingdom
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 82、札哈•哈蒂 83 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 79、馬丁•克里德 80、甚 至到尚•考克多 81 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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60 攝影：Masaru Tatsuki
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。
I look forward to the further explosion of energy.
草間彌生的創作在我所擁有的眾多作品當中是最突出 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》。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○年代她在紐約相當活躍，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 藝壇幾近停滯，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》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
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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。
1952
The Second World War ended.
第二次世界大戰結束。
新達達主義 104 開始在歐洲和美國興起。
Neo Dadaism came to the fore in Europe and the U.S..
1964
覆的家具，以通心粉覆蓋的洋裝等等作品。開始製作運用鏡
「草間彌生，壓迫意象展」 （卡斯帖蘭尼畫廊）展出用突起物包 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。
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1965
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The Vietnam War started. From that time, young people began the hippie movement. 1967
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
電影《草間的自我消融》於紐約首映之後在全世界發行。獲安
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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.
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》
積極在劇場、美術館、廣場等空間推動乍現演出，並於伍茲
「草間彌生：個展」於松本市第一公民館首度舉辦。
立志前往法國，獲得大修米耶學院 105 的入學許可，然而東京 個展定案，只好取消法國行。
Wishing to travel to France, she gained admission to Académie de la Grande Chaumière, but cancelled after a solo exhibition in Tokyo was decided. 前往美國。於西雅圖舉辦個展，翌年轉往紐約。
Traveled to the U.S. where, after holding a solo exhibition in Seattle, she moved to New York.
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.
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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。
1969
1970
Returned temporarily to Japan, held happening in
暫時返回日本。在東京築地進行乍現演出，遭到警方逮捕。
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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.
雙周刊創刊。伍茲塔克舉辦大規模搖滾音樂節。
紐約布魯明黛百貨公司等地開始販售草間時裝。《草間狂熱》
First solo exhibition in New York was held at the Brata Gallery. Exhibited the “Infinity Nets” series and other works. 在格林畫廊的聯展當中首度展出軟雕塑作品。安迪•沃荷發 表「康寶濃湯罐頭」。披頭四出道。
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
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1958
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1957
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1953
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First solo exhibition “Yayoi Kusama: Solo Exhibition” was held at the First Community Center, Matsumoto, Nagano.
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1950
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1945
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Born as daughter of a nursery wholesale dealer in Matsumoto, Nagano. Panic on Wall Street sparked the Great Depression.
Giant Infinity Nets in her New York laim in the local art scene.
studio in 1961. It attracted high acc-
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.
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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.
1998 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
Sapporo. Participated in the Whitney Biennial 2004 (New York).
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2005
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.
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. ─────────────────
獲頒終身成就獎、旭日小綬章、高松宮殿下紀念世界文化獎
───────────────── （繪畫領域）123。
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Received Lifetime Achievement Award, Order of the Rising Sun, and the Praemium Imperiale (for painting). 2008
2006
獲頒第五十屆藝術選獎文部大臣獎 117。村上隆 118 策展的
2000 「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.. 獲頒朝日賞 119。九月十一日美國同時發生多起恐怖事件。
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2001
八十萬美元結標。
鹿特丹波伊曼•凡•貝尼根博物館舉辦個展。紀錄片《NEAR EQUAL 草間彌生》上映。《No.2》於紐約佳士得以大約五百
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 120 受勳。
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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.
2002
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.
124。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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2009
───────────────── 法國藝術文化勳章軍官章 121 受勳。長野縣知事表揚（學術藝
統，獲頒諾貝爾和平獎。
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.
2003
術文化貢獻）受勳。伊拉克戰爭開打。
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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. 個展「Kusamatrix」於東京和札幌展出。參加惠特尼雙年展
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2004
Large-scale retrospective exhibition tours Europe.
大規模回顧展開始在歐洲巡迴。
2011 Held solo exhibition Kusama Matrix in Tokyo and
122（紐約） 。
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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.
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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：﹁從我懂事以來，每一天每一天
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.
都 很 想 死。﹂每 次 她 都 會 開 始 畫 圖， 投 入 到 忘 記 一 切。
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
量 振 翅 高 飛， 將 有 限 的﹃生﹄發 揮 到 極 致， 一 天 到 晚 想
好審視生命的光輝。因此她說：﹁我想要掌握藝術的力
然 而 相 對 於 從 小 產 生 的 自 殺 傾 向， 草 間 每 天 都 會 好
焦慮的句子。
力量究竟是從何而來。
活、創作、不停燃燒生命。
要 去 死 並 不 是 我 的 生 存 之 道。﹂就 這 樣 懷 抱 熱 情 每 天 生 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
自殺了。﹂
就會克制下來。草間喃喃說：﹁如果沒有藝術，我早就
這 樣 一 來 她 的 身 體 就 會 被 愛 包 圍， 自 己 想 要 死 亡 的 慾 望
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
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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。
燒 靈 魂， 希 望 能 夠 透 過 藝 術 的 力 量， 在 我 死 後 將 我 的
思想永遠流傳下去。﹂前衛藝術家草間彌生的藝術追尋，
永遠沒有結束的一天。
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”.
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求道的閃耀之星在遠方 追尋真理度過的漫長歲月 是一座盯著星光都會看丟的迷宮 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
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—
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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.
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“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.
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