05/06/2026
【展出作品介紹｜西山美奈子《灰姑娘俗麗誌 S+》】
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《灰姑娘俗麗誌 S+ 》Cinderella Kitchu S+
現地製作裝置
尺寸依場地而定
2026 年
Site-specific installation
Dimensions variable
2026
西山美奈子現居住與工作於日本兵庫縣。以援引少女文化的立體作品受到矚目，例如令人聯想到等身大「莉卡娃娃屋」的《The PINKÙ House》（1991 年），以及帶有寶塚舞台背板風格的作品。她也是最早一批開始以日本獨有次文化作為媒介進行藝術創作的世代之一。以 1990 年代日本風俗產業為主題的《電話計畫》（1992－1995 年）系列中，她揭示了粉紅色作為少女文化與性風俗象徵所具有的雙重性，以及其如何與消費文化彼此交錯。自 1990 年代後半開始，她逐漸創作以糖、蛋白等甜點材料製成的王冠《Sugar Crown》（1999 年）與玫瑰等作品，呈現甜美而脆弱、並隨時間不斷變化的狀態。此外，她也持續探索各種不同形式的創作，包括對圖樣（pattern）的研究。透過多樣的素材與技法，她持續探問事物存在的狀態與本質。展覽經歷包括東京國立新美術館、瀨戶內國際藝術祭，以及大阪三得利美術館等。
藝術家長期以日本自幼可見的少女玩具文化作為創作基礎，這些物件往往帶有鮮豔、粉紅、平面且表層化的視覺特質，同時也隱含著或大或小的反諷意味。《灰姑娘俗麗誌》系列最初創作於二十多年前，並曾於紀念寶塚歌劇團九十週年的展覽《Takarazuka: The Land of Dream》中展出。此次展出，藝術家因應作品運輸條件的限制，改以大型輸出印刷取代過去的手工繪製方式重新製作，更趨向媚俗且類同玩具型態展出。
今日的 AI 網路時代，過度氾濫的影像與資訊已多到令人不得不選擇閉上雙眼。然而，藝術家始終對人類為何會被色彩、物件與各種表象慾望吸引這件事深感著迷。《灰姑娘俗麗誌》系列亦延續了她對於視覺慾望與文化結構的長期探索，在甜美、輕盈表層間，揭露複雜的心理與文化狀態。
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Minako Nishiyama lives and works in Hyogo, Japan. She first gained recognition for her sculptural works drawing upon girl culture, including The PINKÙ House (1991), reminiscent of a life-sized Licca-chan dollhouse, as well as works inspired by the painted stage backdrops of the Takarazuka R***e. Nishiyama belongs to one of the earliest generations of artists to incorporate Japan’s distinctive subcultures into contemporary art practice. In Telephone Project (1992–1995), a series based on Japan’s 1990s s*x industry, she explored the duality of pink as a symbol of both girl culture and the s*x trade, while revealing its entanglement with consumer culture.
Beginning in the late 1990s, Nishiyama started creating delicate and ephemeral works using confectionery materials such as sugar and egg whites, including the crown-shaped Sugar Crown (1999) and a series of roses, capturing states of sweetness, fragility, and gradual transformation over time. She has also continued to explore a range of artistic approaches, including investigations into decorative patterns. Through diverse materials and techniques, Nishiyama persistently examines the conditions and essence of existence itself. Her exhibition history includes presentations at the The National Art Center, Tokyo, the Setouchi Triennale, and the Suntory Museum in Osaka.
Nishiyama has long drawn inspiration from the culture of girls’ toys familiar within Japanese childhood. These objects are often characterized by bright colors, pink tones, flatness, and deliberate superficiality, while simultaneously containing varying degrees of irony.
Originally created over twenty years ago, the Cinderella Kitchu series was first presented in Takarazuka: The Land of Dream, an exhibition commemorating the 90th anniversary of the Takarazuka R***e. For this exhibition, due to transportation constraints, the artist recreated the work using large-format digital printing rather than the original hand-painted method, resulting in a presentation that more closely resembles kitsch objects and toy-like forms.
Within today’s AI-driven internet culture, images and information have become increasingly excessive and overwhelming to the point that people sometimes feel compelled to close their eyes to them altogether. Nevertheless, Nishiyama remains deeply fascinated by the ways humans are drawn toward colors, objects, and various forms of visual desire. The Cinderella Kitchu series continues her long-term exploration of visual desire and cultural structures, revealing complex psychological and cultural conditions beneath surfaces of sweetness and lightness.
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展覽資訊
展覽名稱｜百合——直到觸及我們的情感象限
展覽時間｜2026年5月26日 –8月2日
主展區｜新竹市美術館（新竹市中央路116號，9:00-17:00，週一休館）
衛星展區｜絕版影像館（新竹市東南街53巷47-1號2樓，10:00-18:00，週日、週一休館）
主辦單位｜新竹市政府
承辦單位｜新竹市文化局、新竹市美術館、絕版影像館
合作單位｜智邦藝術基金會、LG
特別感謝｜名陽工作坊、加拿大駐台北貿易辦事處
照片攝影｜劉璧慈
