Ambiguous Zones 11
1964 Zuni exhibition
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Neon Dance: Beyond Body and Things
November 3, 4, and 5 2022 @Former YOSHIDA Sake Brewery, Tadotsu town, Kagawa, Japan
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Aichi Triennale 2022
Jul30-Oct10, 2022 Aichi Arts Center etc.
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The friendship between Arakawa and the animation film director Hayao Miyazaki
Distraction Series 16
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Exhibitions

Back to 1972

2022-10-08〜2022-12-11

2022-10-08〜

2022-12-11

Otani Memorial Art Museum, Nishinomiya City

STILL ALIVE Aichi Triennale 2022

07-30-2022〜10-10-2022

07-30-2022〜

10-10-2022

AICHI ARTS CENTER etc.

Collection Exhibition Ⅱ: Broaden your Imagination

08-27-2022〜12-18-2022

08-27-2022〜

12-18-2022

Kitakyushu Municipal Museum of Art,

THE STARS: Explore the Collection (Part 2)

10-04-2022〜12-25-2022

10-04-2022〜

12-25-2022

The Museum of Fine Arts, Gifu

Sezon Museum of Modern Art Collection: Art belongs to everyone

09-03-2022〜11-23-2022

09-03-2022〜

11-23-2022

SEZON MUSEUM OF MODERN ART

Arakawa: A LINE IS A CRACK

07-15-2022〜09-30-2022

07-15-2022〜

09-30-2022

Gifu Collection of Modern Arts

News

Ambiguous Zones 11

Figure 1. Container of Sand (1958-59), an example of a coffin work made in Tokyo, photograph by Masataka Nakano Dear Friends, For Ambiguous Zones 11, we are pleased to introduce guest author Keenan Jay, who wrote an insightful essay on Arakawa’s solo exhibition of mainly coffin works at the Zuni Gallery in Buffalo, NY, in March of 1964. Jay is a researcher of modern and contemporary art with an interest in diasporic art and the neo-avant-garde. He was a 2021 research fellow with PoNJA-GenKon and Asia Art Archive in America and has recently presented at the annual conference of the

Ambiguous Zones 10

Arakawa, Untitled, 1968 Even though there are about two weeks left of summer in New York, where the RDF office is located, we have been inundated with advertisements for pumpkin spice everything (lattes, donuts, beer, etc.) since the last week of August. Rather than turn to this fall flavor already, we thought we would share the recipe for Banana Cake from Arakawa’s painting, Untitled, 1968. Unlike your typical banana bread recipe, which is full of spice, this cake heroes the banana, and topped with pillowy layers of whipped cream, it sounded like a perfect dessert to celebrate the end of

Ambiguous Zones 9: Venice Biennale

Arakawa at a café in Piazza San Marco, Venice, most likely 1970, on Polaroid paper stock dated to 1969. The café in question is most likely Caffè Lavena. Dear Friends, For Ambiguous Zones 9, we travel to the Japan Pavilion at the 35th Venice Biennale that took place in 1970. Marking the first time the inner gallery was reserved for a single artist, art critic Yoshiaki Tono, the commissioner of the Japan Pavilion, chose Arakawa for that year.  Several canvases were exhibited from Arakawa’s large-scale project, The Mechanism of Meaning, which began in 1963 and was still in progress at

Ambiguous Zones 8: Non-Gravitational Being, 1983-1984

Arakawa, Non-Gravitational Being, 1983-1984, acrylic, graphite, art marker and PVA on canvas (in two parts), 100 x 136 in. Photo: Rob McKeever Dear Friends, Ambiguous Zones 8 takes a close look at Non-gravitational Being, 1983-84, a large-scale painting by Arakawa. This artwork offers a short text on Arakawa and Gins’s concept of “Blank” and stands as a good introduction to the work being done by Arakawa in the early 1980s. A short formal analysis of the painting will leave you primed to meditate on the artist’s ideas about spacetime, energy-matter, and how gravity might work in different dimensions. Hopefully you

Biography

Arakawa and Madeline Gins

Visionaries Shusaku Arakawa and Madeline Gins met in 1962, and worked continuously together for the life-centered civilization they named Reversible Destiny. Their countless creative works and projects include The Mechanism of Meaning (1963-), Ubiquitous Site, Nagi’s Ryoanji, Architectural Body(1994), Site of Reversible Destiny – Yoro(1995) and Reversible Destiny Lofts Mitaka(2005).

Arakawa(1936〜2010)
Madeline Gins(1941〜2014)

Arakawa and Gins, Photo by Masato Yamamoto