Barbican Gallery presents Isamu Noguchi: artists, designer, philosopher

Isamu Noguchi, Peru, 1983. Photo Michio Noguchi, Noguchi Museum Archives © INFGM / ARS – DACS

‘I’m interested in space and the movement of people and objects within space. There is a certain magic to it. It is as if you are inventing an order of things. I believe there is a secret relationship between space, objects and perceptible and imperceptible movements. Every artist working in this field tries to interpret that relationship in his or her own way. It is the composition and balance of those elements that give rise to the essence of drama and – why not? – the essence of life itself.’ These are the words of Isamu Noguchi, one of the most lyrical artists of the last century.

Known today mostly for his much-copied 1944 Coffee Table (an early edition of which sits here before me) and Akari paper lights, Noguchi tirelessly pushed the boundaries of art and sculpture. Working across almost seven decades and with a multitude of materials and mediums, his carved stones, stage sets, paper lanterns, portrait busts, mobiles, and playgrounds were collectively designed to be tools for understanding our place in the cosmos, and our relationships to history, nature, and one another.

The Barbican gallery in London is hosting ‘Noguchi’, the first of a touring European exhibition which sets out to document the work of this visionary creative. Thematically organised and curated to feature only the words of the artist himself, the exhibition successfully immerses the viewer in the mind and the world of Noguchi. The stripped back béton brut halls of the brutalist Barbican and the advantage of the two levels, allow the 150 works to breathe freely, and with the absence of excessive curation, the viewer is left in an almost meditative state to observe and absorb.

Isamu Noguchi ‘My Arizona’, 1943. Photo by Kevin Noble, Noguchi Museum Archives © INFGM / ARS – DACS

Born in Los Angeles in 1904, Noguchi’s mother was an Irish American writer and his father a Japanese poet who had abandoned the family on his birth. At the age of two, his mother took him to Japan to reunite with his father, sending him back to the US and onto Indiana for schooling for fear that the biracial child would receive racism in Japan. Noguchi eventually settled in New York where he trained in traditional sculpture, but his real break came while on an internship at the Paris studio of Constantin Brancusi. Here Noguchi gained a seminal introduction to the modernist principles of abstraction and presumably met the international avant-garde who were gathered in Paris in the 1920s. It was thanks to Brancusi that he became passionate about materials and craft – elements that remained fundamental to his work throughout his career.

By the end of the decade Noguchi was back in New York sculpting portrait busts, mainly to make a living, many of which are on display at the Barbican. They are a curious mix of expressionist and whimsical. He later referred to them jokingly as ‘headbusting’ since it was a useful way to make money and meet people. It seemed to have worked as they attracted the attention of the pioneering choreographers Ruth Page and Martha Graham for whom Noguchi went on to design sets using an interplay of his sculptures. He also befriended the architect and theorist R. Buckminster Fuller, who he referred to as the ‘messiah of ideas’. The two shared a vision for shaping a more equitable world through technology, innovation and design, collaborated on several projects including a futuristic car.

By the 1940s, Noguchi was working with manufacturers Knoll and Herman Miller. He continued to explore the possibilities of material and form with his interlocking marble slab sculptures and Lunars lights, created after his devastating experience of ‘voluntary’ internment at a camp for Japanese Americans in Poston, Arizona in 1942. The Lunars went on to influence some of his best-known works, the sculptural and ethereal Akari light sculptures – a contemporary take on traditional chochin paper lanterns using washi paper and electric bulbs. After the war, Noguchi travelled to Europe and Asia to understand the different uses of sculpture in a spatial and cosmic sense. He wrote at the time, ‘I find myself a wanderer in a world rapidly growing smaller. Artist, American citizen, world citizen, belonging anywhere but nowhere.’

Installation from ‘Noguchi’ at the Barbican Gallery, London © Barbican Centre

Noguchi went on to complete over twenty public works around the world – gardens, fountains, playgrounds, plazas – using space to challenge civic and social life and its intersections with nature and time. His final contribution was Moerenuma Park. Located on a reclaimed municipal dump outside of Sapporo in Japan, it included play sculptures, fields, and fountains, and a revised version of his first-ever play rejected concept, the monumental, stepped pyramid he called Play Mountain (1933). Moerenuma Park was realised two years after Noguchi’s death in 2000.

Ultimately his was a life dedicated to sculpting the world he wished to inhabit. With a deeply humanist perspective, heightened by his prison experience, Noguchi understood the power of art and artists to make sense of the world. His work was political art. Wandering the exhibition, immersed from above and below in his delicate paper lanterns, colourful furniture, architectural playgrounds, and expressive and often funny abstract and figurative sculptures, you get the sense that in life and work, Noguchi remained an explorer with a philosophical and playful eye. In his own words: ‘Art for me is something which teaches human beings how to become more human.’

‘Noguchi’ is at the Barbican Art Gallery in London from 30 September 2021 to 9 January 2022

Gallery images in order: Noguchi assembling his Figure in his studio, 1944. Photo Rudolph Burckhardt, Noguchi Museum Archives © INFGM / ARS – DACS / Estate of Rudolph Burckhardt; Noguchi’s Memorials to the Atomic Dead is an unrealised model originally proposed in 1952 for Hiroshima Peace Park © Barbican Centre; Noguchi’s Sculpture To Be Seen From Mars, 1947. Photo Soichi Sunami, Noguchi Museum Archives © INFGM / ARS – DACS; Noguchi’s Octetra Play Equipment, Moerenuma Park, Japan. Photo Toshishige Mizoguchi © Toshishige Mizoguchi / INFGM / ARS – DACS; Samrat Yantra, Jantar Mantar, Bollingen Travels, New Delhi, India, 1949. Photo Isamu Noguchi, Noguchi Museum Archives © INFGM / ARS – DACS; Installation from ‘Noguchi’ at the Barbican Gallery, London © Barbican Centre.

Serpentine Gallery 89plus Marathon

It is Frieze week, and London has turned into one giant gallery. The annual art fair, which attracts art lovers from around the world, also encourages other galleries around the capital city to create something unique for this week. This includes the Serpentine Galleries – that now includes the Sackler – which will be hosting 89plus Marathon over two days (18/19 October).

This year’s event focuses on the future and considers how the internet and new social, political and economic networks are changing the world as we know it. Leading artists, writers, musicians, scientists, entrepreneurs and political activists – born in or after 1989, hence the name – will come together with world-renowned figures of all generations for a weekend of performances, screenings and debates. It will be the first major public event to take place in the new Serpentine Sackler Gallery.

89plus Marathon will investigate whether new technologies can lead to a global dialogue that will engender difference rather than homogeneity; the effect of growing up during a global economic crisis; how the internet has enabled new forms of political protest and, a question that runs as a motif throughout, who is responsible for the future…

The 89plus Marathon stage will be designed by artist Amalia Ulman. This will be the eighth Festival of Ideas, conceived by the co-director Hans Ulrich Obrist, originally inspired by the annual Pavilion commission.

Among the sixty participants confirmed are Halil Altindere, whose video Wonderland was a highlight of the 13th Istanbul Biennial; Generation X author and Marathon veteran Douglas Coupland; programmer and entrepreneur Nick D’Aloisio, who at the age of 17 sold his search optimisation tool Summly for an estimated $30 million; former member of Anonymous and LulzSec groups Jake Davis; trend forecasting group K-HOLE; rapper, producer and Youtube phenomenon Le1f; Icelandic information freedom activist Smári McCarthy; writer and curator Kevin McGarry; artist Felix Melia, who will be experimenting with social media to create and stream a film live at the Marathon; neuroscientist Kathryn Mills, who will talk about the effect of the internet on the adolescent brain; Zachary Sims, founder and CEO of Codecademy and advocate for lessons in computer science and programming as a core part of the school curriculum; and artist Hito Steyerl, one of the most influential thinkers on digital culture.

For more information visit the Serpentine Gallery.

Nargess Shahmanesh Banks

Read our previous coverage of Serpentine exhibitions here.

Design Talks | 5 – 25 Scrutton Street | Old Street | Shoreditch | London | EC2A 4HJ?W | www.d-talks.com | Bookshopwww.d-talks.com/bookshop | Published by Banksthomas

PAD London: Objects of desire

London turned into a giant art fair in October as representatives from galleries from around the world descended on the capital city to take part in the now highly established Frieze Art Fair and Pavilion of Art & Design London – both offering art for sale and attracting international buyers and collectors as well as art and design enthusiasts.

Joris Laarman Branch Bookshelf in bronze, 2010

The two affairs that run simultaneously from 13 – 17 October, though, couldn’t be more contrasting. Frieze is a racy affair that has at its core a giant pavilion constructed in the middle of Regents Park offering a vast selection of contemporary works of art by an international set of galleries. It is large, loud – almost chaotic – and feels current, attracting not just those who can afford to buy but also people from all walks of life.

Fernando & Humberto Campana, Sushi IV Chair, 2003 ©Perimeter Editions, Paris

PAD London is an altogether more serene experience. In its third year, the art and design fair has grown to include 50 of the world’s most elite galleries. Plus its location – a tent constructed amongst the sculptural trees of Berkley Square in the heart of exclusive Mayfair – limits its size and to a degree its customers.

Taking 1860 as its starting point, paintings by Pablo Picasso,  Egon Schiele, some brilliant work by German expressionist George Groz, were on exhibit alongside those by Bridget Riley, Richard Prince and more avant-garde artists including the controversial Austrian painter Gottfried Helnwein with his rather haunting work that is a visual critic of war, and outspoken Chinese artist Ai Weiwei who’s 2004 China Bench (pictured bellow). Both were exhibited on New York gallery Friedman Benda‘s visually rich stand.

Ai Weiwei, China Bench, 2004 ©Freidman Benda, New York

This gathering sat alongside mid 20th century European classic of Gio Ponti and co to Dutch designer Joris Laarman and his exquisite Branch Bookshelf that managed to be both organic and highly technical (pictured above and also on exhibit by Friedman Benda), and New York designer Karim Rashid’s bright Blobulous Chair (pictured bellow). Jewelery design ranged from vintage Cartier to sculptural pieces by artist Anish Kapoor. There was even a selection of unusual tribal art on show.

Karim Rashid, Blobulous Chair Chromo, 2008-2010 ©Edizioni Galleria Colombari, Milan

There was also an exhibit by graduate designers from London’s prestigious Royal College of Art. Curator Janice Blackburn and the college’s director of architecture Nigel Coats selected 20 pieces from the 2010 graduate show with 15 percent of the profits generated from the sale going towards the RCA Student Fine Art Award Fund.

Royal College of Art's 2010 graduate show at Pavilion of Art & Design London

PAD London is a chic and exclusive affair – the 50 galleries taking part are from the elite of the art and design world. It was conceived by two Frenchmen Patrick Perrin and Stéphane Custot who spotted a gap in the market and filled it with the kind of work – and the mix – that no one else caters for.

This may be a purely commercial affair, but much like Frieze it is a chance to see a varied selection of creative work gathered, rather conveniently, under one roof.

Nargess Shahmanesh Banks

Design Talks | 5 – 25 Scrutton Street | Old Street | Shoreditch | London | EC2A 4HJ?W | UK | www.d-talks.com | Bookshop www.d-talks.com/bookshop | Published by Banksthomas

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