12:["$","$L46",null,{"post":{"id":185542,"date":"2021-05-17T16:55:16","type":"post","link":"https://casabrutus.com/categories/art/185542","title":{"rendered":"イサム・ノグチの“庭”を散策する展覧会へ｜青野尚子の今週末見るべきアート"},"featured_media":{"id":186554,"alt_text":"","caption":"","description":"","media_type":"image","media_details":{"width":750,"height":750,"file":"2022/05/0425ISAMUN3616_750.jpg","sizes":{}},"post":185542,"source_url":"https://wp2022.casabrutus.com/wp-content/uploads/2022/05/0425ISAMUN3616_750.jpg"},"categories":[{"id":8,"count":2158,"description":"","link":"https://wp2022.casabrutus.com/category/art","name":"Art","slug":"art","taxonomy":"category","meta":[],"parent":0,"term_order":4,"disable_ads":false},{"id":4,"count":5742,"description":"","link":"https://wp2022.casabrutus.com/category/design","name":"Design","slug":"design","taxonomy":"category","meta":[],"parent":0,"term_order":1,"disable_ads":false}],"tags":[{"id":2156,"count":35,"description":"","link":"https://wp2022.casabrutus.com/tag/%e3%82%a4%e3%82%b5%e3%83%a0%e3%83%bb%e3%83%8e%e3%82%b0%e3%83%81","name":"イサム・ノグチ","slug":"%e3%82%a4%e3%82%b5%e3%83%a0%e3%83%bb%e3%83%8e%e3%82%b0%e3%83%81","taxonomy":"post_tag","meta":[],"label_for_button_in_post":""},{"id":133,"count":75,"description":"","link":"https://wp2022.casabrutus.com/tag/art-review","name":"今週末見るべきアート","slug":"art-review","taxonomy":"post_tag","meta":[],"label_for_button_in_post":""},{"id":1143,"count":22,"description":"","link":"https://wp2022.casabrutus.com/tag/tokyo-art-museum","name":"東京都美術館","slug":"tokyo-art-museum","taxonomy":"post_tag","meta":[],"label_for_button_in_post":""}],"serial_cat":[{"id":5771,"count":88,"description":"古典から現代アートまで、開催中の「見るべき展覧会」を徹底リポート。見どころがわかります。","link":"https://wp2022.casabrutus.com/serial_cat/art-review","name":"青野尚子の今週末見るべきアート","slug":"art-review","taxonomy":"serial_cat","meta":[],"parent":0,"term_order":3,"category_name_html":"青野尚子の
今週末見るべきアート","writer_image":{"id":302766,"alt_text":"","caption":"","description":"","media_type":"image","media_details":{"width":579,"height":659,"file":"2022/04/naoko_aono-2.jpg","sizes":{}},"post":null,"source_url":"https://wp2022.casabrutus.com/wp-content/uploads/2022/04/naoko_aono-2.jpg"},"writer_name":"青野尚子","writer_name_kana":"あおのなおこ","writer_profile":"　ライター。アート、建築関係を中心に活動。共著に『新・美術空間散歩』（日東書院新社）、『背徳の西洋美術史』（池上英洋と共著、エムディエヌコーポレーション）、『美術でめぐる西洋史年表』（池上英洋と共著、新星出版社）。","illustrator_name":"Yoshifumi Takeda","writer_category":{"term_id":8,"name":"Art","slug":"art","term_group":0,"term_taxonomy_id":8,"taxonomy":"category","description":"","parent":0,"count":2158,"filter":"raw","term_order":"4","link":"https://wp2022.casabrutus.com/category/art"}}],"cooking_expert_cat":[],"cooking_tag":[],"cityguide_cat":[],"primary_category":{"term_id":8,"name":"Art","slug":"art","term_group":0,"term_taxonomy_id":8,"taxonomy":"category","description":"","parent":0,"count":2158,"filter":"raw","term_order":"4","cat_ID":8,"category_count":2158,"category_description":"","cat_name":"Art","category_nicename":"art","category_parent":0,"disable_ads":false},"custom_fields":{"keyVisual":{"id":0,"alt_text":false,"caption":"20世紀の造形芸術の巨人、イサム・ノグチ。建築家たちとも交流のあった彼の回顧展は、彼の作品で構成された庭のような空間です。石、金属…","description":"","media_type":"file","media_details":{"sizes":{}},"post":null,"source_url":false},"altKeyVisual":null,"layoutKeyVisual":0,"magdata":"","creditText":"May 17, 2021 | Art, Design | casabrutus.com | photo_Takuya Neda text_Naoko Aono editor_Keiko Kusano","subtitle":"20世紀の造形芸術の巨人、イサム・ノグチ。建築家たちとも交流のあった彼の回顧展は、彼の作品で構成された庭のような空間です。石、金属、紙などさまざまな素材による彼の立体作品に囲まれる体験ができます。\r\n","tableOfContents":null,"tableOfContentsTitle":null,"page":[{"pageTitle":"","section":[{"imageTitle":"","exam_id":"","exam_image":null,"exam_image_credit":"","movie":"","movieStart":"","movieCaption":"","subBody":"日本人の父とアメリカ人の母との間に生まれ、幼少期を日本で過ごし、世界中を旅しながら制作を続けたイサム・ノグチ。東京・上野の〈東京都美術館〉で開かれている回顧展は、彼の作品が作り出す”森”か”庭”の中を散策しているような展示だ。","image_set":[{"image":{"id":185545,"alt_text":"","caption":"","description":"","media_type":"image","media_details":{"width":1104,"height":736,"file":"2022/05/0425ISAMUN03614_1104.jpg","sizes":{}},"post":185542,"source_url":"https://wp2022.casabrutus.com/wp-content/uploads/2022/05/0425ISAMUN03614_1104.jpg"},"caption":"《黒い太陽》（1967−69年、国立国際美術館）の後ろには、イサム・ノグチがデザインした150灯の「あかり」が生きているようにゆっくりと点滅する。　(c)2021 The Isamu Noguchi Foundation and Garden Museum / ARS, NY / JASPAR, Tokyo, E3713","disable_captipn":0},{"image":{"id":185546,"alt_text":"","caption":"","description":"","media_type":"image","media_details":{"width":1104,"height":736,"file":"2022/05/0425ISAMUN03622_1104.jpg","sizes":{}},"post":185542,"source_url":"https://wp2022.casabrutus.com/wp-content/uploads/2022/05/0425ISAMUN03622_1104.jpg"},"caption":"大小さまざまな「あかり」はそれぞれ明るさが微妙に違う。　(c)2021 The Isamu Noguchi Foundation and Garden Museum / ARS, NY / JASPAR, Tokyo, E3713","disable_captipn":0}]},{"imageTitle":"","exam_id":"","exam_image":null,"exam_image_credit":"","movie":"","movieStart":"","movieCaption":"","subBody":"3つのフロアに分かれた会場の最初の部屋では、真っ先に《黒い太陽》が出迎える。《黒い太陽》は日本でイサムの右腕となって働いた和泉正敏との出会いのきっかけとなった作品だ。石工の3代目として生まれた和泉は石に関することはもちろん、イサムが香川県の牟礼に設えたアトリエ（現〈イサム・ノグチ庭園美術館〉）に滞在しているときの食事の手配など、生活全般にわたってイサムを助けていた。","image_set":[{"image":{"id":185547,"alt_text":"","caption":"","description":"","media_type":"image","media_details":{"width":1104,"height":1656,"file":"2022/05/0425ISAMUN03631_1104.jpg","sizes":{}},"post":185542,"source_url":"https://wp2022.casabrutus.com/wp-content/uploads/2022/05/0425ISAMUN03631_1104.jpg"},"caption":"《ヴォイド》（1971年、1980年鋳造、和歌山県立近代美術館）。タイトルは「空間」「無」といった意味。無に森羅万象を見出す仏教の思想も思わせる。　(c)2021 The Isamu Noguchi Foundation and Garden Museum / ARS, NY / JASPAR, Tokyo, E3713","disable_captipn":0}]},{"imageTitle":"","exam_id":"","exam_image":null,"exam_image_credit":"","movie":"","movieStart":"","movieCaption":"","subBody":"《黒い太陽》の背後で室内を照らす「あかり」はイサムが1951年に来日した際、鵜飼いを見に訪れた岐阜で岐阜提灯と出合ったことから生まれた照明だ。イサムはこれを自身のライフワークとして30年以上にわたり、200種以上の「あかり」をデザインしている。このフロアでは大小150灯もの円形の「あかり」がインスタレーションされている。この「あかり」は15分ごとにゆっくりと点いたり消えたりを繰り返す。「あかり」の”森”の下には小道があり、「あかり」に囲まれながら歩いて行くことができる。","image_set":[{"image":{"id":185548,"alt_text":"","caption":"","description":"","media_type":"image","media_details":{"width":1104,"height":736,"file":"2022/05/0425ISAMUN03600_1104.jpg","sizes":{}},"post":185542,"source_url":"https://wp2022.casabrutus.com/wp-content/uploads/2022/05/0425ISAMUN03600_1104.jpg"},"caption":"「あかり」の下から見上げるとたくさんの月や星が輝いているようにも感じられる。　(c)2021 The Isamu Noguchi Foundation and Garden Museum / ARS, NY / JASPAR, Tokyo, E3713","disable_captipn":0}]}],"button":[],"description":[],"profile":[]},{"pageTitle":"","section":[{"imageTitle":"","exam_id":"","exam_image":null,"exam_image_credit":"","movie":"","movieStart":"","movieCaption":"","subBody":"このフロアにある《発見の道》という彫刻は、この展覧会のタイトルともなった作品だ。80歳を超えたイサムの手による、最晩年の作品になる。イサムが「発見の道」というタイトルに何を込めたのか、明確な言葉は残されていない。なめらかな面と荒々しい肌が同居した石彫は長い人生の旅を経てもっとも重要なもの、自らの中に眠っていたものを見出した、そんなことも思わせる。","image_set":[{"image":{"id":185549,"alt_text":"","caption":"","description":"","media_type":"image","media_details":{"width":1104,"height":1656,"file":"2022/05/0425ISAMUN03638_1104.jpg","sizes":{}},"post":185542,"source_url":"https://wp2022.casabrutus.com/wp-content/uploads/2022/05/0425ISAMUN03638_1104.jpg"},"caption":"《発見の道》（1983−84年、鹿児島県立霧島アートの森）。イサム最晩年の作。年を重ねても新たに発見することがある、といったメッセージだろうか。　(c)2021 The Isamu Noguchi Foundation and Garden Museum / ARS, NY / JASPAR, Tokyo, E3713","disable_captipn":0}]},{"imageTitle":"","exam_id":"","exam_image":null,"exam_image_credit":"","movie":"","movieStart":"","movieCaption":"","subBody":"「インターロッキング・スカルプチュア」というシリーズはネジや釘を使わずに、木材に穴を開けて細く削った別の木材を差し込む、といった日本の伝統的な大工仕事にヒントを得たものだ。穴を開けた材に別のパーツをはめ込むといった手法で作られている。イサムは世界各地を旅する中でこんなことも”発見”していたのかもしれない。\r\n","image_set":[{"image":{"id":185550,"alt_text":"","caption":"","description":"","media_type":"image","media_details":{"width":1104,"height":1656,"file":"2022/05/0425ISAMUN03626_1104.jpg","sizes":{}},"post":185542,"source_url":"https://wp2022.casabrutus.com/wp-content/uploads/2022/05/0425ISAMUN03626_1104.jpg"},"caption":"《化身》（1947年、1972年鋳造、イサム・ノグチ財団・庭園美術館（ニューヨーク）、公益財団法人イサム・ノグチ日本財団に永久貸与）。部材を穴や溝にはめ込む、日本の伝統建築からインスピレーションを得た手法によるもの。　(c)2021 The Isamu Noguchi Foundation and Garden Museum / ARS, NY / JASPAR, Tokyo, E3713","disable_captipn":0}]},{"imageTitle":"","exam_id":"","exam_image":null,"exam_image_credit":"","movie":"","movieStart":"","movieCaption":"","subBody":"","image_set":[{"image":{"id":185572,"alt_text":"","caption":"","description":"","media_type":"image","media_details":{"width":1104,"height":1104,"file":"2022/05/0425ISAMUN0357802_1104.jpg","sizes":{}},"post":185542,"source_url":"https://wp2022.casabrutus.com/wp-content/uploads/2022/05/0425ISAMUN0357802_1104.jpg"},"caption":"《座禅》（1982−83年、イサム・ノグチ財団・庭園美術館（ニューヨーク））。抽象的な形だが、タイトルを見ると座禅を組む僧のように見えてくる。　(c)2021 The Isamu Noguchi Foundation and Garden Museum / ARS, NY / JASPAR, Tokyo, E3713","disable_captipn":0}]},{"imageTitle":"","exam_id":"","exam_image":null,"exam_image_credit":"","movie":"","movieStart":"","movieCaption":"","subBody":"一つ上のフロアは「かろみ」と題された展示だ。主に金属板による、軽やかさを感じさせる彫刻が並ぶ。金属板を折り曲げた造形についてイサムは「日本の折り紙が頭にあったのかもしれない」と言っている。作品の中には粗いメッキを施したものもある。こうすると表面に意図しない模様が浮き上がる。イサムは自然の手による偶然の造形を楽しんでいたようだ。","image_set":[{"image":{"id":185552,"alt_text":"","caption":"","description":"","media_type":"image","media_details":{"width":1104,"height":1656,"file":"2022/05/0425ISAMUN03666_1104.jpg","sizes":{}},"post":185542,"source_url":"https://wp2022.casabrutus.com/wp-content/uploads/2022/05/0425ISAMUN03666_1104.jpg"},"caption":"《リス》（1988年、香川県立ミュージアム）。太い尾を揺らすリスがタイトルに。イサムの遊び心が感じられる。　(c)2021 The Isamu Noguchi Foundation and Garden Museum / ARS, NY / JASPAR, Tokyo, E3713\r\n","disable_captipn":0}]}],"button":[],"description":[],"profile":[]},{"pageTitle":"","section":[{"imageTitle":"","exam_id":"","exam_image":null,"exam_image_credit":"","movie":"","movieStart":"","movieCaption":"","subBody":"このフロアでの「あかり」は先ほどのものとは違って形のバリエーションが豊かだ。三日月のような形、遺伝子の二重螺旋のようなもの、大小の箱を重ねたような形状など、多種多様な「あかり」が並ぶ。形によって光の強弱や表情も変わる。イサムはこの「あかり」を日常生活の中で使ってもらえるものとして制作した。","image_set":[{"image":{"id":185573,"alt_text":"","caption":"","description":"","media_type":"image","media_details":{"width":1104,"height":736,"file":"2022/05/0425ISAMUN03596_1104.jpg","sizes":{}},"post":185542,"source_url":"https://wp2022.casabrutus.com/wp-content/uploads/2022/05/0425ISAMUN03596_1104.jpg"},"caption":"軽やかな紙でできた光のオブジェ。イサムはさまざまな形態を実験するようにデザインしていた。　(c)2021 The Isamu Noguchi Foundation and Garden Museum / ARS, NY / JASPAR, Tokyo, E3713\r\n","disable_captipn":0},{"image":{"id":185554,"alt_text":"","caption":"","description":"","media_type":"image","media_details":{"width":1104,"height":736,"file":"2022/05/0425ISAMUN03689_1104.jpg","sizes":{}},"post":185542,"source_url":"https://wp2022.casabrutus.com/wp-content/uploads/2022/05/0425ISAMUN03689_1104.jpg"},"caption":"天井から吊すタイプの「あかり」にも種々の形がある。　(c)2021 The Isamu Noguchi Foundation and Garden Museum / ARS, NY / JASPAR, Tokyo, E3713","disable_captipn":0}]},{"imageTitle":"","exam_id":"","exam_image":null,"exam_image_credit":"","movie":"","movieStart":"","movieCaption":"","subBody":"このフロアには観客も座れるソファのほか、参考出品としてイサムがデザインしたコーヒーテーブルなども展示されている。西洋ではアートと工芸は厳密に分けられているが、日本では屛風や障屏画のように暮らしの中にアートがとけ込んでいて、アートとデザインや工芸との境界はあいまいだ。イサムは自らの造形を美術館の中だけでなく、さまざまな形で人々に親しんでほしいと考えていた。「あかり」についても当初はアーティストが照明器具のデザインをするなんて、といった批判もあったが、イサムは意に介することはなかった。\r\n","image_set":[{"image":{"id":185555,"alt_text":"","caption":"","description":"","media_type":"image","media_details":{"width":1104,"height":736,"file":"2022/05/0425ISAMUN03681_1104.jpg","sizes":{}},"post":185542,"source_url":"https://wp2022.casabrutus.com/wp-content/uploads/2022/05/0425ISAMUN03681_1104.jpg"},"caption":"展示会場内のイサムがデザインしたソファは座ることもできる。小石のようなフォルムが愛らしい。\r\n","disable_captipn":0},{"image":{"id":185556,"alt_text":"","caption":"","description":"","media_type":"image","media_details":{"width":1104,"height":736,"file":"2022/05/0425ISAMUN03561_1104.jpg","sizes":{}},"post":185542,"source_url":"https://wp2022.casabrutus.com/wp-content/uploads/2022/05/0425ISAMUN03561_1104.jpg"},"caption":"参考出品の「コーヒーテーブル」（右）と「プラズマティックテーブル」（左）。「あかり」同様、普段の暮らしの中で親しめるイサムの造形だ。","disable_captipn":0}]},{"imageTitle":"","exam_id":"","exam_image":null,"exam_image_credit":"","movie":"","movieStart":"","movieCaption":"","subBody":"モノクロームの印象が強いこのフロアで、ひときわ目を引くのが真っ赤なオブジェだ。「プレイスカルプチュア」と名づけられたこのシリーズは主に子どもたちが触ったり上ったりして遊ぶために作られている。残念ながらここではそういった体験をすることはできないが、横浜の〈こどもの国〉や札幌の〈モエレ沼公園〉では実際にプレイスカルプチュアで遊ぶことができる。イサムは「僕は、遊びを機能と形態の入門書と考えたい」と言っていた。身体で彫刻を感じるうちに自分の身体がどのように動くのか、彫刻の形態と身体とはどのような関係にあるのかを自然と学ぶことができる。大人になっても忘れたくない学びだ。","image_set":[{"image":{"id":185557,"alt_text":"","caption":"","description":"","media_type":"image","media_details":{"width":1104,"height":736,"file":"2022/05/0425ISAMUN03683_1104.jpg","sizes":{}},"post":185542,"source_url":"https://wp2022.casabrutus.com/wp-content/uploads/2022/05/0425ISAMUN03683_1104.jpg"},"caption":"《プレイスカルプチュア》（2021年、鋼鉄、茨城放送蔵）。会場にはダンサーがこの彫刻でパフォーマンスしている写真も展示されている。　(c)2021 The Isamu Noguchi Foundation and Garden Museum / ARS, NY / JASPAR, Tokyo, E3713","disable_captipn":0}]}],"button":[],"description":[],"profile":[]},{"pageTitle":"","section":[{"imageTitle":"","exam_id":"","exam_image":null,"exam_image_credit":"","movie":"","movieStart":"","movieCaption":"","subBody":"３つめのフロアには香川県牟礼の〈イサム・ノグチ庭園美術館〉から運ばれてきた石彫作品が置かれている。和泉と協働で作り出した作品群だ。イサムのアトリエだった〈イサム・ノグチ庭園美術館〉の彫刻庭園や展示蔵に置かれている彫刻が、これだけまとまって東京で見られる機会はとても貴重だ。","image_set":[{"image":{"id":185558,"alt_text":"","caption":"","description":"","media_type":"image","media_details":{"width":1104,"height":736,"file":"2022/05/0425ISAMUN03527_1104.jpg","sizes":{}},"post":185542,"source_url":"https://wp2022.casabrutus.com/wp-content/uploads/2022/05/0425ISAMUN03527_1104.jpg"},"caption":"《無題》（1987年、イサム・ノグチ財団・庭園美術館（ニューヨーク）、公益財団法人イサム・ノグチ日本財団に永久貸与）。イサムの作品で作られた小宇宙のような空間だ。　(c)2021 The Isamu Noguchi Foundation and Garden Museum / ARS, NY / JASPAR, Tokyo, E3713","disable_captipn":0}]},{"imageTitle":"","exam_id":"","exam_image":null,"exam_image_credit":"","movie":"","movieStart":"","movieCaption":"","subBody":"","image_set":[{"image":{"id":185559,"alt_text":"","caption":"","description":"","media_type":"image","media_details":{"width":1104,"height":1656,"file":"2022/05/0425ISAMUN03537_1104.jpg","sizes":{}},"post":185542,"source_url":"https://wp2022.casabrutus.com/wp-content/uploads/2022/05/0425ISAMUN03537_1104.jpg"},"caption":"《ねじれた柱》（1982−84年、イサム・ノグチ財団・庭園美術館（ニューヨーク）、公益財団法人イサム・ノグチ日本財団に永久貸与）。　(c)2021 The Isamu Noguchi Foundation and Garden Museum / ARS, NY / JASPAR, Tokyo, E3713","disable_captipn":0}]},{"imageTitle":"","exam_id":"","exam_image":null,"exam_image_credit":"","movie":"","movieStart":"","movieCaption":"","subBody":"和泉は後年、イサムとの仕事を振り返って「石の割れた肌を見るイサム先生の目は輝いていた」といった意味のことを言っている。西洋では石彫でも木彫でも、芸術家のヴィジョンを彫り出すものであり、主体は人間だと考えられている。それに対して東洋では誰も見つけたことのない、素材の中に眠っている美を引き出すのが芸術家である、といった思想がある。","image_set":[{"image":{"id":185560,"alt_text":"","caption":"","description":"","media_type":"image","media_details":{"width":1104,"height":736,"file":"2022/05/0425ISAMUN03540_1104.jpg","sizes":{}},"post":185542,"source_url":"https://wp2022.casabrutus.com/wp-content/uploads/2022/05/0425ISAMUN03540_1104.jpg"},"caption":"《ねじれた柱》部分。ノミの跡や微妙に変化する色合いを愛でたい。　(c)2021 The Isamu Noguchi Foundation and Garden Museum / ARS, NY / JASPAR, Tokyo, E3713","disable_captipn":0}]},{"imageTitle":"","exam_id":"","exam_image":null,"exam_image_credit":"","movie":"","movieStart":"","movieCaption":"","subBody":"建築家の磯崎新はイサムが「自然石と向き合っていると石が話を始めるのですよ。その声が聞こえたら、ちょっとだけ手助けしてあげるんです」と語ったのを記憶している。この言葉だけを見ると何かたやすいことのようにも思えるが、石の声を聞くことができる、そんな人はなかなかいない。","image_set":[{"image":{"id":185561,"alt_text":"","caption":"","description":"","media_type":"image","media_details":{"width":1104,"height":736,"file":"2022/05/0425ISAMUN03542_1104.jpg","sizes":{}},"post":185542,"source_url":"https://wp2022.casabrutus.com/wp-content/uploads/2022/05/0425ISAMUN03542_1104.jpg"},"caption":"《フロアーロック（床石）》（1984年、イサム・ノグチ財団・庭園美術館（ニューヨーク）、公益財団法人イサム・ノグチ日本財団に永久貸与）。イサムと交流のあった安藤忠雄は彼の「石はいじりすぎると死んでしまう」という言葉が印象に残っているという。　(c)2021 The Isamu Noguchi Foundation and Garden Museum / ARS, NY / JASPAR, Tokyo, E3713","disable_captipn":0}]}],"button":[],"description":[],"profile":[]},{"pageTitle":"","section":[{"imageTitle":"","exam_id":"","exam_image":null,"exam_image_credit":"","movie":"","movieStart":"","movieCaption":"","subBody":"観客は3フロアそれぞれに個性的な作品が立ち並ぶ場を自由に歩き回ることができる。そこはイサムの手の跡と思いが満ちる庭のような小宇宙だ。同時に、イサムの造形には見る者がさまざまなものを投影することができる。石彫や「あかり」を通じて作者と観客が語りあう、その対話は尽きることはない。","image_set":[{"image":{"id":185562,"alt_text":"","caption":"","description":"","media_type":"image","media_details":{"width":1104,"height":736,"file":"2022/05/0425ISAMUN03714_1104.jpg","sizes":{}},"post":185542,"source_url":"https://wp2022.casabrutus.com/wp-content/uploads/2022/05/0425ISAMUN03714_1104.jpg"},"caption":"参考出品の石のサンプル。イサムがアトリエを構えた香川県牟礼で産出する「庵治石」や磨くと淡紅色が目立つ「万成石」など、彼が愛したさまざまな石が並ぶ。","disable_captipn":0}]}],"button":[{"url":"https://isamunoguchi.exhibit.jp/","text":"公式サイト","color":"","image":{"id":0,"alt_text":false,"caption":"20世紀の造形芸術の巨人、イサム・ノグチ。建築家たちとも交流のあった彼の回顧展は、彼の作品で構成された庭のような空間です。石、金属…","description":"","media_type":"file","media_details":{"sizes":{}},"post":null,"source_url":false},"eventcategory":""}],"description":[{"descriptionImage":{"id":0,"alt_text":false,"caption":"20世紀の造形芸術の巨人、イサム・ノグチ。建築家たちとも交流のあった彼の回顧展は、彼の作品で構成された庭のような空間です。石、金属…","description":"","media_type":"file","media_details":{"sizes":{}},"post":null,"source_url":false},"title":"イサム・ノグチ　発見の道","body":"〈東京都美術館〉企画展示室　東京都台東区上野公園8-36。TEL 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E3713","disable_captipn":0}]},{"imageTitle":"","exam_id":"","exam_image":null,"exam_image_credit":"","movie":"","movieStart":"","movieCaption":"","subBody":"3つのフロアに分かれた会場の最初の部屋では、真っ先に《黒い太陽》が出迎える。《黒い太陽》は日本でイサムの右腕となって働いた和泉正敏との出会いのきっかけとなった作品だ。石工の3代目として生まれた和泉は石に関することはもちろん、イサムが香川県の牟礼に設えたアトリエ（現〈イサム・ノグチ庭園美術館〉）に滞在しているときの食事の手配など、生活全般にわたってイサムを助けていた。","image_set":[{"image":{"id":185547,"alt_text":"","caption":"","description":"","media_type":"image","media_details":{"width":1104,"height":1656,"file":"2022/05/0425ISAMUN03631_1104.jpg","sizes":{}},"post":185542,"source_url":"https://wp2022.casabrutus.com/wp-content/uploads/2022/05/0425ISAMUN03631_1104.jpg"},"caption":"《ヴォイド》（1971年、1980年鋳造、和歌山県立近代美術館）。タイトルは「空間」「無」といった意味。無に森羅万象を見出す仏教の思想も思わせる。　(c)2021 The Isamu Noguchi Foundation and Garden Museum / ARS, NY / JASPAR, Tokyo, 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E3713","disable_captipn":0}]}],"button":[],"description":[],"profile":[]},{"pageTitle":"","section":[{"imageTitle":"","exam_id":"","exam_image":null,"exam_image_credit":"","movie":"","movieStart":"","movieCaption":"","subBody":"このフロアにある《発見の道》という彫刻は、この展覧会のタイトルともなった作品だ。80歳を超えたイサムの手による、最晩年の作品になる。イサムが「発見の道」というタイトルに何を込めたのか、明確な言葉は残されていない。なめらかな面と荒々しい肌が同居した石彫は長い人生の旅を経てもっとも重要なもの、自らの中に眠っていたものを見出した、そんなことも思わせる。","image_set":[{"image":{"id":185549,"alt_text":"","caption":"","description":"","media_type":"image","media_details":{"width":1104,"height":1656,"file":"2022/05/0425ISAMUN03638_1104.jpg","sizes":{}},"post":185542,"source_url":"https://wp2022.casabrutus.com/wp-content/uploads/2022/05/0425ISAMUN03638_1104.jpg"},"caption":"《発見の道》（1983−84年、鹿児島県立霧島アートの森）。イサム最晩年の作。年を重ねても新たに発見することがある、といったメッセージだろうか。　(c)2021 The Isamu Noguchi Foundation and Garden Museum / ARS, NY / JASPAR, Tokyo, E3713","disable_captipn":0}]},{"imageTitle":"","exam_id":"","exam_image":null,"exam_image_credit":"","movie":"","movieStart":"","movieCaption":"","subBody":"「インターロッキング・スカルプチュア」というシリーズはネジや釘を使わずに、木材に穴を開けて細く削った別の木材を差し込む、といった日本の伝統的な大工仕事にヒントを得たものだ。穴を開けた材に別のパーツをはめ込むといった手法で作られている。イサムは世界各地を旅する中でこんなことも”発見”していたのかもしれない。\r\n","image_set":[{"image":{"id":185550,"alt_text":"","caption":"","description":"","media_type":"image","media_details":{"width":1104,"height":1656,"file":"2022/05/0425ISAMUN03626_1104.jpg","sizes":{}},"post":185542,"source_url":"https://wp2022.casabrutus.com/wp-content/uploads/2022/05/0425ISAMUN03626_1104.jpg"},"caption":"《化身》（1947年、1972年鋳造、イサム・ノグチ財団・庭園美術館（ニューヨーク）、公益財団法人イサム・ノグチ日本財団に永久貸与）。部材を穴や溝にはめ込む、日本の伝統建築からインスピレーションを得た手法によるもの。　(c)2021 The Isamu Noguchi Foundation and Garden Museum / ARS, NY / JASPAR, Tokyo, E3713","disable_captipn":0}]},{"imageTitle":"","exam_id":"","exam_image":null,"exam_image_credit":"","movie":"","movieStart":"","movieCaption":"","subBody":"","image_set":[{"image":{"id":185572,"alt_text":"","caption":"","description":"","media_type":"image","media_details":{"width":1104,"height":1104,"file":"2022/05/0425ISAMUN0357802_1104.jpg","sizes":{}},"post":185542,"source_url":"https://wp2022.casabrutus.com/wp-content/uploads/2022/05/0425ISAMUN0357802_1104.jpg"},"caption":"《座禅》（1982−83年、イサム・ノグチ財団・庭園美術館（ニューヨーク））。抽象的な形だが、タイトルを見ると座禅を組む僧のように見えてくる。　(c)2021 The Isamu Noguchi Foundation and Garden Museum / ARS, NY / JASPAR, Tokyo, E3713","disable_captipn":0}]},{"imageTitle":"","exam_id":"","exam_image":null,"exam_image_credit":"","movie":"","movieStart":"","movieCaption":"","subBody":"一つ上のフロアは「かろみ」と題された展示だ。主に金属板による、軽やかさを感じさせる彫刻が並ぶ。金属板を折り曲げた造形についてイサムは「日本の折り紙が頭にあったのかもしれない」と言っている。作品の中には粗いメッキを施したものもある。こうすると表面に意図しない模様が浮き上がる。イサムは自然の手による偶然の造形を楽しんでいたようだ。","image_set":[{"image":{"id":185552,"alt_text":"","caption":"","description":"","media_type":"image","media_details":{"width":1104,"height":1656,"file":"2022/05/0425ISAMUN03666_1104.jpg","sizes":{}},"post":185542,"source_url":"https://wp2022.casabrutus.com/wp-content/uploads/2022/05/0425ISAMUN03666_1104.jpg"},"caption":"《リス》（1988年、香川県立ミュージアム）。太い尾を揺らすリスがタイトルに。イサムの遊び心が感じられる。　(c)2021 The Isamu Noguchi Foundation and Garden Museum / ARS, NY / JASPAR, Tokyo, E3713\r\n","disable_captipn":0}]}],"button":[],"description":[],"profile":[]},{"pageTitle":"","section":[{"imageTitle":"","exam_id":"","exam_image":null,"exam_image_credit":"","movie":"","movieStart":"","movieCaption":"","subBody":"このフロアでの「あかり」は先ほどのものとは違って形のバリエーションが豊かだ。三日月のような形、遺伝子の二重螺旋のようなもの、大小の箱を重ねたような形状など、多種多様な「あかり」が並ぶ。形によって光の強弱や表情も変わる。イサムはこの「あかり」を日常生活の中で使ってもらえるものとして制作した。","image_set":[{"image":{"id":185573,"alt_text":"","caption":"","description":"","media_type":"image","media_details":{"width":1104,"height":736,"file":"2022/05/0425ISAMUN03596_1104.jpg","sizes":{}},"post":185542,"source_url":"https://wp2022.casabrutus.com/wp-content/uploads/2022/05/0425ISAMUN03596_1104.jpg"},"caption":"軽やかな紙でできた光のオブジェ。イサムはさまざまな形態を実験するようにデザインしていた。　(c)2021 The Isamu Noguchi Foundation and Garden Museum / ARS, NY / JASPAR, Tokyo, 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E3713","disable_captipn":0}]},{"imageTitle":"","exam_id":"","exam_image":null,"exam_image_credit":"","movie":"","movieStart":"","movieCaption":"","subBody":"このフロアには観客も座れるソファのほか、参考出品としてイサムがデザインしたコーヒーテーブルなども展示されている。西洋ではアートと工芸は厳密に分けられているが、日本では屛風や障屏画のように暮らしの中にアートがとけ込んでいて、アートとデザインや工芸との境界はあいまいだ。イサムは自らの造形を美術館の中だけでなく、さまざまな形で人々に親しんでほしいと考えていた。「あかり」についても当初はアーティストが照明器具のデザインをするなんて、といった批判もあったが、イサムは意に介することはなかった。\r\n","image_set":[{"image":{"id":185555,"alt_text":"","caption":"","description":"","media_type":"image","media_details":{"width":1104,"height":736,"file":"2022/05/0425ISAMUN03681_1104.jpg","sizes":{}},"post":185542,"source_url":"https://wp2022.casabrutus.com/wp-content/uploads/2022/05/0425ISAMUN03681_1104.jpg"},"caption":"展示会場内のイサムがデザインしたソファは座ることもできる。小石のようなフォルムが愛らしい。\r\n","disable_captipn":0},{"image":{"id":185556,"alt_text":"","caption":"","description":"","media_type":"image","media_details":{"width":1104,"height":736,"file":"2022/05/0425ISAMUN03561_1104.jpg","sizes":{}},"post":185542,"source_url":"https://wp2022.casabrutus.com/wp-content/uploads/2022/05/0425ISAMUN03561_1104.jpg"},"caption":"参考出品の「コーヒーテーブル」（右）と「プラズマティックテーブル」（左）。「あかり」同様、普段の暮らしの中で親しめるイサムの造形だ。","disable_captipn":0}]},{"imageTitle":"","exam_id":"","exam_image":null,"exam_image_credit":"","movie":"","movieStart":"","movieCaption":"","subBody":"モノクロームの印象が強いこのフロアで、ひときわ目を引くのが真っ赤なオブジェだ。「プレイスカルプチュア」と名づけられたこのシリーズは主に子どもたちが触ったり上ったりして遊ぶために作られている。残念ながらここではそういった体験をすることはできないが、横浜の〈こどもの国〉や札幌の〈モエレ沼公園〉では実際にプレイスカルプチュアで遊ぶことができる。イサムは「僕は、遊びを機能と形態の入門書と考えたい」と言っていた。身体で彫刻を感じるうちに自分の身体がどのように動くのか、彫刻の形態と身体とはどのような関係にあるのかを自然と学ぶことができる。大人になっても忘れたくない学びだ。","image_set":[{"image":{"id":185557,"alt_text":"","caption":"","description":"","media_type":"image","media_details":{"width":1104,"height":736,"file":"2022/05/0425ISAMUN03683_1104.jpg","sizes":{}},"post":185542,"source_url":"https://wp2022.casabrutus.com/wp-content/uploads/2022/05/0425ISAMUN03683_1104.jpg"},"caption":"《プレイスカルプチュア》（2021年、鋼鉄、茨城放送蔵）。会場にはダンサーがこの彫刻でパフォーマンスしている写真も展示されている。　(c)2021 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E3713","disable_captipn":0}]},{"imageTitle":"","exam_id":"","exam_image":null,"exam_image_credit":"","movie":"","movieStart":"","movieCaption":"","subBody":"","image_set":[{"image":{"id":185559,"alt_text":"","caption":"","description":"","media_type":"image","media_details":{"width":1104,"height":1656,"file":"2022/05/0425ISAMUN03537_1104.jpg","sizes":{}},"post":185542,"source_url":"https://wp2022.casabrutus.com/wp-content/uploads/2022/05/0425ISAMUN03537_1104.jpg"},"caption":"《ねじれた柱》（1982−84年、イサム・ノグチ財団・庭園美術館（ニューヨーク）、公益財団法人イサム・ノグチ日本財団に永久貸与）。　(c)2021 The Isamu Noguchi Foundation and Garden Museum / ARS, NY / JASPAR, Tokyo, E3713","disable_captipn":0}]},{"imageTitle":"","exam_id":"","exam_image":null,"exam_image_credit":"","movie":"","movieStart":"","movieCaption":"","subBody":"和泉は後年、イサムとの仕事を振り返って「石の割れた肌を見るイサム先生の目は輝いていた」といった意味のことを言っている。西洋では石彫でも木彫でも、芸術家のヴィジョンを彫り出すものであり、主体は人間だと考えられている。それに対して東洋では誰も見つけたことのない、素材の中に眠っている美を引き出すのが芸術家である、といった思想がある。","image_set":[{"image":{"id":185560,"alt_text":"","caption":"","description":"","media_type":"image","media_details":{"width":1104,"height":736,"file":"2022/05/0425ISAMUN03540_1104.jpg","sizes":{}},"post":185542,"source_url":"https://wp2022.casabrutus.com/wp-content/uploads/2022/05/0425ISAMUN03540_1104.jpg"},"caption":"《ねじれた柱》部分。ノミの跡や微妙に変化する色合いを愛でたい。　(c)2021 The Isamu Noguchi Foundation and Garden Museum / ARS, NY / JASPAR, Tokyo, E3713","disable_captipn":0}]},{"imageTitle":"","exam_id":"","exam_image":null,"exam_image_credit":"","movie":"","movieStart":"","movieCaption":"","subBody":"建築家の磯崎新はイサムが「自然石と向き合っていると石が話を始めるのですよ。その声が聞こえたら、ちょっとだけ手助けしてあげるんです」と語ったのを記憶している。この言葉だけを見ると何かたやすいことのようにも思えるが、石の声を聞くことができる、そんな人はなかなかいない。","image_set":[{"image":{"id":185561,"alt_text":"","caption":"","description":"","media_type":"image","media_details":{"width":1104,"height":736,"file":"2022/05/0425ISAMUN03542_1104.jpg","sizes":{}},"post":185542,"source_url":"https://wp2022.casabrutus.com/wp-content/uploads/2022/05/0425ISAMUN03542_1104.jpg"},"caption":"《フロアーロック（床石）》（1984年、イサム・ノグチ財団・庭園美術館（ニューヨーク）、公益財団法人イサム・ノグチ日本財団に永久貸与）。イサムと交流のあった安藤忠雄は彼の「石はいじりすぎると死んでしまう」という言葉が印象に残っているという。　(c)2021 The Isamu Noguchi Foundation and Garden Museum / ARS, NY / JASPAR, Tokyo, E3713","disable_captipn":0}]}],"button":[],"description":[],"profile":[]},{"pageTitle":"","section":[{"imageTitle":"","exam_id":"","exam_image":null,"exam_image_credit":"","movie":"","movieStart":"","movieCaption":"","subBody":"観客は3フロアそれぞれに個性的な作品が立ち並ぶ場を自由に歩き回ることができる。そこはイサムの手の跡と思いが満ちる庭のような小宇宙だ。同時に、イサムの造形には見る者がさまざまなものを投影することができる。石彫や「あかり」を通じて作者と観客が語りあう、その対話は尽きることはない。","image_set":[{"image":{"id":185562,"alt_text":"","caption":"","description":"","media_type":"image","media_details":{"width":1104,"height":736,"file":"2022/05/0425ISAMUN03714_1104.jpg","sizes":{}},"post":185542,"source_url":"https://wp2022.casabrutus.com/wp-content/uploads/2022/05/0425ISAMUN03714_1104.jpg"},"caption":"参考出品の石のサンプル。イサムがアトリエを構えた香川県牟礼で産出する「庵治石」や磨くと淡紅色が目立つ「万成石」など、彼が愛したさまざまな石が並ぶ。","disable_captipn":0}]}],"button":[{"url":"https://isamunoguchi.exhibit.jp/","text":"公式サイト","color":"","image":{"id":0,"alt_text":false,"caption":"20世紀の造形芸術の巨人、イサム・ノグチ。建築家たちとも交流のあった彼の回顧展は、彼の作品で構成された庭のような空間です。石、金属…","description":"","media_type":"file","media_details":{"sizes":{}},"post":null,"source_url":false},"eventcategory":""}],"description":[{"descriptionImage":{"id":0,"alt_text":false,"caption":"20世紀の造形芸術の巨人、イサム・ノグチ。建築家たちとも交流のあった彼の回顧展は、彼の作品で構成された庭のような空間です。石、金属…","description":"","media_type":"file","media_details":{"sizes":{}},"post":null,"source_url":false},"title":"イサム・ノグチ　発見の道","body":"〈東京都美術館〉企画展示室　東京都台東区上野公園8-36。TEL 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