草間彌生的「軌跡」與「奇跡」 “Trajectory” and “Miracle”: KUSAMA Yayoi 1951-2005 from W Collection & More

現年高齡96歲的草間彌生，為當代藝術史上最具代表性及顛覆性的創作者之一。1929年生於日本長野縣松本市，1957至1973年間移居美國，後返回日本定居。草間彌生學生時期受日本畫訓練，卻不囿於傳統藝術形式的框架，由個體的生命經驗轉化、發展出獨樹一格的藝術語彙，作品媒材遍及繪畫、雕塑、拼貼、版畫、行為展演、錄像及大型裝置等，並跨足時尚產業，以其鮮豔奔放的色彩、大膽具原創性的創作題旨及形式聞名於世，於歐美前衛藝術浪潮、乃至於當今視覺藝術領域中，皆佔有舉足輕重的地位。

1990年代，是草間彌生1973年自美國返日後，重回國際觀眾視野，而後大放異彩的關鍵時期。1993年，她成為首位於威尼斯雙年展日本館個展的當代藝術家；隨後五年，洛杉磯郡立美術館、東京都現代美術館接連舉辦大型回顧展，奠定草間彌生作為當代藝術大家的定位。1998年，草間彌生受昔時臺北市立美術館館長林曼麗及策展人南條史生之邀，於「臺北雙年展」創作巨型現地裝置《圓點的強迫妄想》，以七個帶有黑色圓點的螢光粉紅氣球滿佈北美館的中庭，是為草間彌生以巨大雕塑與公共空間對話的重要節點；該次展覽亦開啟這位風靡全球的藝術家與臺灣的頻繁交往。

「草間彌生的『軌跡』與『奇跡』」展覽以草間彌生與臺灣的原點——特別重製的《圓點的強迫妄想》揭開序幕，聚焦其1951年至2005年間的創作，展出70件精選作品，透過「草間的綻放」、「圓點・原點」、「草間的蟄伏」、「Love Forever」四個子題，以草間彌生生涯中的創作探索與實驗為引，深入藝術家跌宕豐厚的生命軌跡。本展汲取收藏家W Collection獨到的收藏視野，奠基於日本青森縣立美術館「從W Collection看草間彌生的軌跡與奇跡」（草間彌生の キセキ –W コレクションによる）之展覽成果，北師美術館亦與草間彌生工作室緊密合作，除重製《圓點的強迫妄想》之外，並借展10餘組鮮少曝光的偶發展演紀錄及服裝展件，聚焦藝術家早期行為實驗對形塑其藝術生涯的重要性。

步入北師美術館，數顆碩大的有機形體橫亙挑高展間，穿行期間彷如走入草間彌生的世界——消融於無盡重複的圓點之中。《圓點的強迫妄想》等數件大型裝置、軟雕塑與標誌性畫作，體現 1985年後「草間的綻放」：逐步踏上世界舞台的她，作品揮別70年代的陰鬱，愈發流露出生氣蓬勃、無拘揮灑的創作動能。三樓展間則如時光迴廊般，回溯其創作萌發的軌跡：「圓點・原點」展出早期的圓點、日本畫作品，呈現年少的草間彌生如何透過畫筆，描繪、轉化其眼中所見的自然萬物、家庭關係與二戰的社會景況。

旅美時期的受挫經驗與1973年返日後的震盪階段，則收納於「草間的蟄伏」，多件粉彩、墨彩與拼貼形構的平面作品，潛入藝術家身心混沌時期的恐懼、焦躁、絕望與想望。地下室的「Love Forever」展區聚焦草間彌生1960年代中期以降所進行的偶發行動，以《花縱慾》等四部前衛的展演紀錄影像，交織大型裝置《驅迫意象》及數件於早期演出中繪製使用的珍貴服裝，深入這位舉世無雙的藝術家為大眾所開創的，關於反戰、性、身體與愛的繁複想像。

「草間彌生的『軌跡』與『奇跡』」關照草間彌生生命經驗與藝術語彙的錯綜交織，深入其創作實踐的發展「軌跡」，在探問藝術家何以持續開創嶄新可能的同時，也擁抱藝術與生命的「奇跡」。

At age 96, Yayoi Kusama remains among the most iconic and subversive figures in contemporary art history. Born in 1929 in Matsumoto City in Nagano Prefecture, Japan, she lived in United States from 1957 to 1973 before returning to Japan, where she currently resides. Despite training in traditional nihonga (Japanese-style painting) during her early years, Kusama resisted the constraints of conventional artistic forms. Instead, she transformed her personal experiences into a distinctive visual vocabulary. Her oeuvre spans a wide range of media, including painting, sculpture, collage, printmaking, performance, video, large-scale installations and even fashion. Celebrated globally for her vibrant colors and audacious, original subjects and forms, Kusama remains at the forefront of European and American avant-garde art movements, and continues to be a defining force in the global art scene today.

The 1990s marked a pivotal period for Yayoi Kusama, as she re-emerged in the international art scene with explosive success following her return to Japan. In 1993, she became the first contemporary artist to present a solo exhibition at Japan Pavilion of Venice Biennale. Her status as a major figure in contemporary art was cemented in the five years that followed, with retrospectives at Los Angeles County Museum of Art and the Museum of Contemporary Art Tokyo. In 1998, she was invited by then-director of Taipei Fine Arts Museum, Lin Mun-Lee and curator Fumio Nanjo, to create the large-scale installation, Dots Obsession, for Taipei Biennial. The work occupies the museum’s courtyard with seven fluorescent pink balloons covered with black polka dots. It was a defining moment in her exploration of the dialogue between large-scale sculptures and public spaces. This exhibition also marked the beginning of an enduring relationship between this globally celebrated artist and Taiwan.

“‘Trajectory’ and ‘Miracle’” opens with a re-created version of Dots Obsession, the very work that marked Kusama’s Taiwan debut, and features 70 meticulously selected works spanning from 1951 to 2005. Organized into four sections—“Kusama in Full Bloom”, “Dots as Origins”, “Kusama’s Quiescence” and “Love Forever”—the exhibition traces the artist’s creative explorations and experimentations throughout her career, while reflecting on the vicissitudes of her life journey. This exhibition draws on the unique vision of W Collection, and builds on the success of “‘Trajectory’ and ‘Miracle’ — KUSAMA Yayoi 1951-2005 from W Collection” at Aomori Museum of Art in Japan. MoNTUE has collaborated closely with Yayoi Kusama Studio to not only recreate Dots Obsession, but also present a selection of rarely exhibited performance documentations and couture pieces, highlighting the formative influence of her early happenings on her broader artistic trajectory.

Upon entering MoNTUE, visitors are greeted by massive organic forms that stretch across the lofty exhibition space. Moving through this area, they are transported into Kusama’s world—immersed in an infinite repetition of dots. Large-scale installations such as Dots Obsession, alongside soft sculptures and her signature paintings, capture the essence of “Kusama in Full Bloom” after 1985, a period marked by her rise to global prominence. During this time, her work shed the melancholy of the 1970s, radiating a vital and liberated creative energy. The third-floor gallery space, resembling a corridor through time, traces her artistic trajectory in “Dots as Origins” by showcasing her early dot motifs and nihonga works, illustrating how the young Kusama translated her perceptions of nature, familial dynamics, and the social landscape of World War II through her paintbrush.

Her period of setbacks in the United States and the tumultuous years following her return to Japan in 1973 are explored in “Kusama’s Quiescence”. Numerous pastel, ink and collage-based two-dimensional works delve into the artist’s fears, anxiety, despair and yearning during this chaotic phase of her life. The basement “Love Forever” section highlights the happenings she initiated in the late-1960s. This area interweaves four documentaries of her avant-garde performances, including Flower Orgy, with the large-scale installation Driving Image, and several precious, hand-painted garments she created for her early happenings. These elements reveal the complex imagination that this unparalleled artist has brought to the public perception of anti-war activism, sexuality, the body and love.

The “‘Trajectory’ and ‘Miracle’” exhibition sheds light on the intricately interwoven relationship between Yayoi Kusama’s life experiences and artistic language. By revisiting the “trajectory” of her artistic practices, the exhibition scrutinizes how the artist has persistently forged new paths off possibility while embracing the “miracle” of art and life.

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