Isamu Noguchi: �í�ìåóá óå áíáôïë� �áé äýóç

�I find myself a wanderer in a world rapidly growing smaller� - �åñéðëáíé�ìáé ó’ �íáí �üóìï ðïõ ìé�ñá�íåé ìå ôá÷å�ò ñõèìïýò.

Óôá ðëáΓ�óéá ôùí Γ¥Γ�Γ¨Γ�óåùí-áöéåñùìΓ�ôùí Γ³Γ¥ óçìáíôéΓ�Γ�Γ² ìïñöΓ�Γ² ôçò Γ΄Γ�÷íçò ôïõ 19Γ―Γµ Γ�áé 20Γ―Γ½ áéþíá ðïõ ôï ºäñõìá ÂáóΓ�ëç Γ�áé Γ…Γ«Γ�æáò ÃïõëáíäñΓ� ìå Γ³ΓµΓ­Γ�ðåéá ðñáãìáôïðïéåΓ� ôá ôåëåõôáΓ�Γ΅ ÷ñüíéá, (P.PicassΓ― 2004, J.Miró, 2002, Toulouse-Lautrec, 2001, H.Moore, 2000, Γ�.Rodin, 1996, M.Chagall, 1994 , W.Kandinsky, 1989, Γ�.Γ΅.), äéïñãáíþíïõìå Γ�áé Γ¶Γ�ôïò, Γ³Γ¥ óõíåñãáóΓ�Γ΅ ìå ôï Γ�Γ―ΓµΓ³Γ¥Γ�Γ― Noguchi ôçò Γ�Γ�áò ÕüñΓ�çò, ìåãΓ�ëç Γ�Γ�èåóç-áöéΓ�ñùìá óôïí óçìáíôéΓ�ΓΌ áìåñéΓ�áíïúΓ�ðùíá Γ�áëëéôΓ�Γ·Γ­Γ§ Isamu Noguchi (1904-1988).

Ôá �ñãá ôïõ Noguchi èá ðáñïõóéáóôïýí ãéá ðñþôç öïñ� óôï åëëçíé�ü �ïéíü. Ç ��èåóç ôïõ �ïõóå�ïõ Óýã÷ñïíçò Ô�÷íçò óôçí ¢íäñï, áðü 27 Éïõí�ïõ �ùò 26 Óåðôåìâñ�ïõ 2010, èá ðåñéëáìâ�íåé 76 å�è�ìáôá, å� ôùí ïðï�ùí 42 ãëõðô�, 34 ó÷�äéá �áé ðñïó÷�äéá, �áé åðéðë�ïí, óåéñ� öùôïãñáöéþí áðü ó�çíé�� ãéá ðáñáóô�óåéò �áé äçìüóéá �ñãá ðïõ ðñáãìáôïðïé�èç�áí óå ó÷�äéá ôïõ Noguchi óå äé�öïñåò ÷þñåò ôçò Åõñþðçò, ôçò �ó�áò, �áé óå ðïëéôå�åò ôùí Çíùì�íùí �ïëéôåéþí ôçò �ìåñé��ò.

� Isamu Noguchi, óõíåéó�öåñå óçìáíôé�� óôçí ìïíô�ñíá ãëõðôé��, üóï �áé óôïí ÷þñï ôïõ design. �å äéðë� �áôáãùã� áðü ôçí �ìåñé�� (ãåí�èëéïò ôüðïò ôçò ìçô�ñáò ôïõ) �áé ôçí Éáðùí�á, (ãåí�èëéïò ôüðïò ôïõ ðïéçô� ðáô�ñá ôïõ), ãíþñéóå ôçí Åëë�äá áðü ðïëý ìé�ñ� çëé��á, ì�óá áðü ôçí áã�ðç ôçò ìçô�ñáò ôïõ, Leonie Gilmour, ç ïðï�á �ôáí óõããñáö�áò �áé ôïõ äé�âáæå óõ÷í� áñ÷á�á åëëçíé�� ìõèïëïã�á. Óôçí äé�ñ�åéá ôçò æù�ò ôïõ åðéó��öèç�å åðáíåéëçìì�íá ôçí Åëë�äá, �ôñåöå, äå, ìåã�ëï óåâáóìü �áé èáõìáóìü ãéá ôá áñéóôïõñã�ìáôá ôçò �ëáóé��ò ãëõðôé��ò.

Å�ôüò áðü ôçí Åëë�äá, ï Noguchi åðéó��öèç�å ðïëëïýò ôüðïõò, �áèþò ôáî�äåõå óå üëç ôç äé�ñ�åéá ôçò æù�ò ôïõ. Óôï �åîé�ü áíá��ëõøå ôçí ãïçôå�á ôùí �ñãùí ìåã�ëçò �ë�ìá�áò, óôçí Éáðùí�á ôá ã�éíá �åñáìé�� �áé ôçí áñìïí�á ôùí ��ðùí, óôçí ��íá ôçí ãïçôå�á ôçò óéíé��ò ìåë�íçò, �áé óôçí Éôáë�á ôçí �áèáñüôçôá ôïõ ìáñì�ñïõ. �öïìï�ùóå äéáöïñåôé��ò ôå÷íé��ò �áé ðåéñáìáô�óôç�å ìå ðïé��ëá õëé��, üðùò ôï áôó�ëé, ôï ì�ñìáñï, ôï ó�äåñï, ôï îýëï, ôïí ÷áë�ü, ôï áëïõì�íéï, ôïí âáó�ëôç, ôïí ãñáí�ôç. ��üìç �áé ôá óôïé÷å�á ôçò öýóçò , ôï íåñü, ï á�ñáò, ç ãç, ç öùôé�, áíôéìåôùð�óôç�áí áðü ôïí Noguchi ùò åí äõí�ìåé áîéïðïé�óéìá õëé�� óå �ñãá ìåã�ëçò �ë�ìá�áò.

Óçìáíôé�ü ãåãïíüò óôçí æù� ôïõ áðïô�ëåóå ç ãíùñéì�á ôïõ ìå ôá ãëõðô� ôïõ Constantin Brancusi, üôáí ôï 1926 åðéó��öèç�å ��èåó� ôïõ óôçí ��á Õüñ�ç. �ðü ôï 1927 �ùò ôï 1929 �áô� ôçí ðáñáìïí� ôïõ óôï �áñ�óé, üðïõ ôáî�äåøå ìå õðïôñïö�á ôïõ John Simon Guggenheim åñã�óôç�å ãéá �îé ì�íåò óôï åñãáóô�ñéï ôïõ ìåã�ëïõ äáó��ëïõ ùò âïçèüò ôïõ.

Ëüãù ôçò äéðë�ò �áôáãùã�ò ôïõ âñ�èç�å óõ÷í� «áí�ìåóá» óå Äýóç �áé �íáôïë�. Äé÷áóì�íïò ìåô� ôçí åð�èåóç ôçò Éáðùí�áò óôï Pearl Harbor ôçí 7ç Äå�åìâñ�ïõ 1941 �áé ôçí áôïìé�� âüìâá  óôçí ×éñïó�ìá ðïõ ôçí á�ïëïýèçóå, ï ðïëéôé�� åõáéóèçôïðïéçì�íïò �áëëéô�÷íçò åìðíåýóôç�å ôá �ñãá Çñþïí (1943) �áé �íçìå�ï óôïõò �å�ñïýò ôçò ×éñïó�ìá (1952), ôá ïðï�á üìùò ðïô� äåí ðñáãìáôïðïé�èç�áí. Ôï 1951 áí�ëáâå ôïí ó÷åäéáóìü ôùí �éã�ëéäùì�ôùí ôçò ã�öõñáò ôïõ ��ñ�ïõ Åéñ�íçò ôçò ×éñïó�ìá.

Óôçí ãëõðôé�� ç äéðë� �áôáãùã� ôïõ å�öñ�óôç�å ìå ôïí äçìéïõñãé�ü óõíäõáóìü åôåñü�ëçôùí óôïé÷å�ùí. Å�ôüò áðü ôçí áöá�ñåóç ôïõ Brancusi �áé ôçí áñ÷á�á åëëçíé�� ãëõðôé��, åðçñå�óôç�å åî�óïõ áðü ôïí âéïìïñöéóìü ôùí óïõñåáëéóôþí, �áé ôçí �áëëéãñáö�á. �áñ� ôï ãåãïíüò üôé �áô� �áéñïýò óõíåñã�óôç�å ìå ðïëëïýò �áëëéô�÷íåò áðü äéáöïñåôé��ò «Ó÷ïë�ò» �áé ì�óá, äåí ðñïó÷þñçóå, ðïô� óå ��ðïéï óõã�å�ñéì�íï �áëëéôå÷íé�ü ��íçìá.

�íáäå�÷èç�å óå ðñùôïðüñï ôçò �environmental art� �áé ôçò �ô�÷íçò ôçò ãçò� ôñåéò äå�áåô�åò ðñïôïý ïé üñïé áõôï� åíôá÷èïýí óôï ëåîéëüãéï ôçò ô�÷íçò óôçí äå�áåô�á ôïõ �60.

Ôá áñ÷éôå�ôïíé�� ó÷�äé� ôïõ ãéá ��ðïõò �áé ðáéäüôïðïõò, �ïì�æïõí ìéá í�á ïðôé�� óôçí óýã÷ñïíç ðåñéâáëëïíôé�� åõáéóèçôïðïéçì�íç áñ÷éôå�ôïíé�� ðñïó�ããéóç ôïõ ôïð�ïõ, åíþ ïé ðáñáóô�óåéò ðïõ ó�çíïãñ�öçóå ãéá ðñùôïðüñïõò ÷ïñåõô�ò, óõíéóôïýí ìéá éäéá�ôåñç ðñüôáóç óôçí ìïíô�ñíá ÷ïñïãñáö�á. �éï óõã�å�ñéì�íá, ç åíáó÷üëçó� ôïõ ìå ôçí ó�çíïãñáö�á, ÷ñïíïëïãå�ôáé �äç áðü ôï 1935 ïðüôå �áé îå��íçóå ìá�ñï÷ñüíéá óõíåñãáó�á ìå ôçí äéåèíïýò ö�ìçò ÷ïñïãñ�öï Martha Graham. Å�ôüò áðü ôçí Graham, o Isamu Noguchi óõíåñã�óôç�å ìå ôïõò Merce Cunningham, Erick Hawkins, �áé George Balanchine �áèþò �áé ìå ôïí óõíè�ôç John Cage.

� ëéèïîüïò Masatoshi Izumi, ï áñ÷éô��ôïíáò Louis Kahn �áé ï åöåõñ�ôçò Buckminster Fuller óõã�áôáë�ãïíôáé áí�ìåóá óôïõò óõíåñã�ôåò ôïõ óôá ðëá�óéá ôçò äçìéïõñã�áò ãíùóôþí �ñãùí � project ôïõ �áëëéô�÷íç.

Ç óõíåéóöïñ� ôïõ óôï design èåùñå�ôáé éäéá�ôåñá óçìáíôé��. �é ãëõðôé��ò öüñìåò Akari (ç ë�îç Aakari óôá éáðùíé�� óçìá�íåé öùò), áëë� �áé ôï ãíùóôü ôñáð�æé ìå ãõ�ëéíç åðéö�íåéá ðáñáãùã�ò Herman Miller å�íáé ìåñé�� ìüíï áðü ôá ðéï ãíùóô� áíôé�å�ìåíá ìáæé��ò ðáñáãùã�ò, ðïõ ï Noguchi äçìéïýñãçóå óôéò äå�áåô�åò ôïõ �40 �áé ôïõ �50, �áé ôá ïðï�á ðáñ�ãïíôáé ì�÷ñé ó�ìåñá.

¼óï âñéó�üôáí óôçí æù� ó÷åä�áóå �áé �äñõóå ï �äéïò ôï ìïõóå�ï ðïõ èá öéëïîåíïýóå ôá �ñãá ôïõ. Ôï Isamu Noguchi Garden Museum (ãíùóôü ó�ìåñá ùò The Noguchi Museum), îå��íçóå ôçí ëåéôïõñã�á ôïõ ôï 1985 óôï Long Island City, óôçí ��á Õüñ�ç.

Ç ðñþôç áíáäñïìé�� ��èåóç ôïõ �ñãïõ ôïõ ðñáãìáôïðïé�èç�å óôçí ��á Õüñ�ç ôï 1968, óôï Whitney Museum of American Art. Ôï 1986, å�ðñïóþðçóå ôéò Çíùì�íåò �ïëéôå�åò óôçí 42ç ìðéåí�ëå ôçò Âåíåô�áò .

Å�÷å ôçí ôý÷ç íá ãíùñ�óåé ôçí áíáãíþñéóç åíüóù �ôáí åí æù� �áé íá ôéìçèå� ìå óçìáíôé�� âñáâå�á, üðùò ôï Âñáâå�ï Kyoto áðü ôï Éáðùíé�ü ºäñõìá Inamori ãéá ôï óýíïëï ôïõ �ñãïõ ôïõ (1986), �áé �ëëåò äéá�ñ�óåéò, ìåôáîý ôùí ïðï�ùí ôï Åèíé�ü �áñ�óçìï ôùí Ôå÷íþí (1987) �áé ôï 3ï �áñ�óçìï ôïõ Éåñïý �çóáõñïý (1988).

� «�ïóìé�üò áõôüò ôáîéäåõô�ò», üðùò ôïí �÷ïõí åýóôï÷á ÷áñá�ôçñ�óåé, ð�èáíå ôï 1988 áðü ðíåõìïí�á, óôçí ��á Õüñ�ç.

Ãéá ðåñéóóüôåñåò ðëçñïöïñ�åò:
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