Hello everyone. This is Staff Y.

All the staff at the antique art Fukosha Nagoya store, I think, is a consensus of art lovers, but the museum life is really lacking these days. I think there are many people who have reaffirmed that it is so painful to be unable to live in a museum as expected for the past year or two, or that a sense of loss cannot be denied. I also try to cheat on SNS, videos, books, etc., but after all I want to go and appreciate it in that environment, that space, that quiet world. However, in reality, I have been preparing for the museum life that will come someday for the past year or two.

However, my niece who lives in Tokyo sometimes sends me museum information so that I can fill the shortage of my museum life. At that time, the interests and sensibilities of young people are also shared, so I’m always looking forward to it, but Tokyo is full of museums, exhibitions and art in my life, and it’s a really enviable environment. There are restrictions on the number of people and the museum is closed these days, but if you make a reservation, you can avoid the crowded state, so on the contrary, the state of waiting for 2 hours for admission like before has disappeared, so it may be good for the viewing side. There are also places where I think.

Aside from the above, this time I received a small report that I went to the exhibition “Isamu Noguchi Discovery Road” currently being held at the Tokyo Metropolitan Art Museum. Will introduce you, so if you can’t go to see it, let’s feel like going with me here.

A special exhibition “Isamu Noguchi’s Path of Discovery” is being held at the Tokyo Metropolitan Art Museum, which approaches the essence of the sculpture of Isamu Noguchi, one of the leading artists of the 20th century.
Isamu Noguchi (1904-1988), who left a large footprint in sculpture, performing arts, furniture, landscape design, met the sculptor Constantin Brancusi in his twenties, and Noguchi was naturally influenced by his vision. Throughout my life, I have pursued the world created by the underlying abstract form. The design is still somehow unfading, new but nostalgic. It can also be touched by his roots.

Noguchi was born to a Japanese father, an American, to his mother. Noguchi establishes his own sculptural philosophy while suffering from identity conflicts between East and West. He experienced the tragedy that his parents’ homelands became enemies of each other due to the war, and he left behind works with a strong desire for peace.

In addition, while working extensively in collaboration with architects, Noguchi continued to be a sculptor based on the teachings of his teacher, Brancusi, but his roots also have implications that it spans both countries. I wonder if I will set up an atelier in New York and Mure-cho, Takamatsu City, Kagawa. The stone sculptures he devoted himself to in his later years are the culmination of Noguchi and embody his art.

In this exhibition, Noguchi’s stone carvings of Murei, which he created with Masatoshi Izumi, a stonemason, are exhibited for the first time in Tokyo. I am following along with the struggles of various modeling experiments such as sublimation to the world of my work.

At this venue, about 90 works including many large-scale works from Japan and abroad, including the sculpture “Akari” of light, are gathered, and the installation using 150 lights of “Akari” and the inspiration from origami etc. The series of metal sculptures I got and the hands-on exhibits such as playset sculptures are also worth seeing.

In addition, at this Isamu Noguchi exhibition venue, a new form of “sound tour” to unravel Isamu Noguchi will be held as a collaboration project with Sakanaction vocalist Ichiro Yamaguchi. We are sending out a new fusion of forms.

He is actually a collector of “Akari”. Of course, he also has Isamu Noguchi’s works as a collection, and it is said that his own creative activities were inspired by Isamu Noguchi’s works. From an amateur’s point of view, he asks the relationship between music and art, but he asks if his music will be appreciated in the years ahead and how the present era they make will be talked about 50 years from now. I started thinking about it. Indeed, for him, there are no barriers between music and art.

He also talks about the charm of “Akari”. “It’s a sense of incongruity. If there is no sense of incongruity, I think that people are not attractive if they are not attractive.” “Akari” is comfortable with symmetrical aesthetics and a combination of different traditions. I’m making a sense of discomfort. He was also fascinated by the trial and error of mixing folk songs with dance music. Now, I feel that new things are always influenced by nostalgic things. In that sense, mid-century is the one that sticks straight to our generation, and I think Isamu’s work is the first. ”

And that.

Isamu Noguchi also has a sense of discomfort in his roots, and when he projects that discomfort into his work and sees the new fusion of works, not only art, but all evolution seems to be a continuation of this discomfort and mixing. Is it? If you become more uncomfortable when you actively notice the discomfort, it’s something that makes you feel uncomfortable these days, but I’m looking forward to the discomfort of the coming era.

Exhibition “Isamu Noguchi: The Road to Discovery]]

Date: April 24th (Sat) -August 29th (Sun), 2021
Venue: Tokyo Metropolitan Art Museum Planning Exhibition Room
Address: 8-36 Ueno Park, Taito-ku, Tokyo
Opening hours: 9: 30-17: 30 (Admission is 30 minutes before closing)