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Yayoi Kusama
《無題 (銀色籃子)》
完整圖錄內容
《無題 (銀色籃子)》將尋常的器皿轉化為荒謬、懾人,同時卻也因寄生於上的銀色突出物,反而變得不具威脅性的物件。佛洛伊德對於怪異感的定義是「一個熟悉的東西,被壓抑、埋藏後湧現而出」的結果,而這個東西又引領我們回到一個心中早已熟知的物品或想法。(佛洛伊德,〈怪怖者〉,1919 年,第15頁)而這個定義能作為理解草間彌生作品令人不安的框架和藝術語彙。因此,當草間彌生拿籃子這樣司空見慣的物品,並劇烈地改變其外貌與功能時,她玩弄的是熟悉與陌生之間的分野,也因而製造怪怖感。照片中,藝術家在她的工作室裡,靠在、坐在、躺在《積聚》系列雕塑品上,這些照片強調的是,當布製陽具接觸到藝術家身體的時,所產生的詭異牴觸:蓬鬆的填充物與侵入性的形狀並列而置,無生命的外表與好似病毒般具感染性的生命力互相抗衡。(錄於法蘭西.摩爾斯編,〈草間彌生〉,2012年,第72-73頁)
到了草間彌生於1964年在紐約舉辦〈Driving Image Show〉展覽的時候,她所累積的作品已足以佈滿整個展場,這開創了藝術家的新佈展模式,也為她未來全尺度、沉浸式的藝術裝置預先鋪路。草間彌生說道:「《積聚》雕塑品……源自一股我內在深沉的驅力,無形中使我能實現出腦海中不斷重複存在的意象。當這個意象自由了,它就會奔出時間、空間的限制。有人說過這個意象代表的是一股,一旦開始就能憑自身動能而持續下去的、無法被抑 制的力量。」(草間彌生,〈與戈登.布朗的訪談〉,〈草間彌生〉,2000 年,第104頁)《無題 (銀色籃子)》一作證實了即使再渺小、再平凡不過的物件,都難跳出草間彌生強迫性重複的手法,逃不出她的耽迷執妄和其精神狀態。這一批草間彌生在初探沉浸式空間時所創造的雕塑品,是她在 1966 年威尼斯雙年展所展出的〈無限鏡屋〉的關鍵先驅之作。
Yayoi Kusama
JapaneseNamed "the world's most popular artist" in 2015, it's not hard to see why Yayoi Kusama continues to dazzle contemporary art audiences globally. From her signature polka dots—"fabulous," she calls them—to her mirror-and-light Infinity Rooms, Kusama's multi-dimensional practice of making art elevates the experience of immersion. To neatly pin an artistic movement onto Kusama would be for naught: She melds and transcends the aesthetics and theories of many late twentieth century movements, including Pop Art and Minimalism, without ever taking a singular path.
As an nonagenarian who still lives in Tokyo and steadfastly paints in her studio every day, Kusama honed her punchy cosmic style in New York City in the 1960s. During this period, she staged avant-garde happenings, which eventually thrust her onto the international stage with a series of groundbreaking exhibitions at the Museum of Modern Art in the 1980s and the 45th Venice Biennale in 1993. She continues to churn out paintings and installations at inspiring speed, exhibiting internationally in nearly every corner of the globe, and maintains a commanding presence on the primary market and at auction.