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真的好爱草间弥生,圆点与无限延伸的网状图。第一次感触到她的童年创伤,要快速画完,赶在母亲撕毁前把自己的作品完成。母亲将对父亲出轨的无能为力转化为怒气全部撒在她身上。 她在河边把画全部烧掉,“我以后一定会画出更好的”。她把美元缝在和服缝里去了纽约,却因为身份与性别,永远只能在边角落。好不容易作品进驻了美术馆,刚展出软雕塑的创意,就被另一位艺术家复制;刚展出将同一张照片复制粘贴铺满展示空间,安迪·沃霍尔就学来把一张牛的照片同款操作;刚展出了玻璃空间,成为了掌控观众的艺术家,创意就又被另一个艺术家复制在另一间更有名气的美术馆中。 创意一次又一次被人抄走,反复刺激着她本就脆弱的神经。她带着玻璃球们在威尼斯艺术展门口售卖,她问:“为什么不能像卖冰淇淋那样贩卖我的艺术呢?” 七十年代,她退回日本,好喜欢她那个时期的拼贴画 最后的最后,看着经历了那么多煎熬与苦痛的草间弥生重生,她那么那么痛苦,仍然想要活下去,找到那条通向生的桥。 活了下来。真的,太好了。后期作品里感受到的都是旺盛的生命力。 她现在住的医院离工作室很近,每天仍在创作着。(2018年的纪录片中)

草间弥生的生活

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美国,日本/85分钟
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