Sculptor, architect, designer, he is one of the most eclectic figures of the 20th century
“A sculpture is a relationship of forms in space”, stated Isamu Noguchi. And, observing his compositions, one might add: because space is the place where the soul is dipped.
FOR HIM, SPACE IS THE PLACE WHERE TO DIP THE SOUL
That is, both his own soul and the soul inherent in everything he created. Moreover, it is important to note that for Noguchi, the outcome of every one of his actions was to be considered a sculpture. He had, in fact, been labeled an architect, designer, stage designer, overlooking this unique and repeatedly affirmed perception he had of himself.
For this reason, his close connection with Marcel Duchamp takes on particular significance, as Duchamp entrusted thought and subsequent behavior with the act of defining his works. To further understand the enigmatic and evocative nature of Noguchi’s personal creative path, one must also consider his birth in Los Angeles in 1904 to a Japanese father and an American mother and his relationships with extraordinary experimenters like Brancusi and the aforementioned Duchamp.
HE WAS BORN IN LOS ANGELES TO A JAPANESE FATHER AND AN AMERICAN MOTHER IN 1904
He was able to merge Zen spirit and experimentation into a deeply personal compositional process. Thus, a lamp, a design, a block of stone or bronze, when touched by his genius, were all to be considered sculptures.
HE BECAME FRIENDS WITH BRANCUSI AND DUCHAMP, BLENDING THEIR EXPERIMENTALISM WITH THE ZEN SPIRIT
In this way, the man who is regarded as one of the most intriguing and eclectic figures of the 20th-century art scene owes his fame also to this vision, one that grants visitors of his exhibitions the utmost freedom of interpretation and emotional engagement. In fact, Noguchi always encouraged viewers to draw personal and introspective connections through a deep, intimate encounter with his creations. Also, the current exhibition, hosted in the gardens of the Rijksmuseum in Amsterdam, reflects this same curatorial logic, identical to that which defines the layout of the Noguchi Museum in Long Island City, Queens, which the artist himself designed. A way of reaffirming, at every opportunity, a behavioral philosophy capable of fully engaging both the perception and the soul of the public.
A LAMP, A DESIGN PROJECT, THE MARBLE OR BRONZE TOUCHED BY HIS FLAIR BECOME SCULPTURES
THE EXHIBITION
By Guendalina Cappellano. An important retrospective dedicated to Isamu Noguchi is currently on view in the Rijkmuseum gardens until October 26. The exhibition features around thirty sculptures, along with ceramics and the famous chess table. A sculptor, designer, architect, landscape artist and set designer, Noguchi explored space as an integral part of his work. Among the highlights of the exhibition is Play Sculpture (1965-1980, reworked in 2017), evoking the playful structures of playgrounds. Other works examine the human body, such as Cronos, made in balsa wood in 1947 and cast in bronze in 1962, alongside surrealist pieces like The cry, notable for its essential and enigmatic form. The 1985 installation Beginnings reflects a closer affinity with Eastern culture: andesite boulders are arranged in the museum gardens, evoking natural landscapes and primordial atmospheres. The work draws on his studies of Japanese Zen gardens, which established him as a leading figure in the design of public spaces. In the nineteenth-century Beuning Hall, visitors can also see the 1944 Chess table, once exhibited alongside Marcel Duchamp and Max Ernst, while the Asian Pavilion hosts a selection of ceramics, representing a fusion of rationality and harmony. Completing the exhibition are 40 suspended Akari lamps: designed in 1951 during a trip to Gifu, these ethereal and poetic light sources, inspired by traditional Japanese paper and bamboo lanterns, became a signature element of his creations.
Isamu Noguchi
Amsterdam
Rijksmuseum
Fino/until 26/10
