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

Arakawa: A LINE IS A CRACK

2022-07-15〜2022-09-30

2022-07-15〜

2022-09-30

Gifu Collection of Modern Arts

STILL ALIVE Aichi Triennale 2022

07-30-2022〜10-10-2022

07-30-2022〜

10-10-2022

AICHI ARTS CENTER etc.

The National Museum of Art, Osaka 100 years of contemporary art

06-11-2022〜08-21-2022

06-11-2022〜

08-21-2022

Oita Prefectural Art Museum

MOMAT Collection

05-17-2022〜10-02-2022

05-17-2022〜

10-02-2022

The National Museum of Modern Art, Tokyo

End of the World and Self-centered World

05-13-2022〜07-03-2022

05-13-2022〜

07-03-2022

GYRE GALLERY

MOT Collection: Garden of Light / Continuing Whispers

03-19-2022〜06-19-2022

03-19-2022〜

06-19-2022

MUSEUM OF CONTEMPORARY ART TOKYO

News

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

Ambiguous Zones 7

Installation view of ARAKAWA: Waiting Voices at Gagosian Gallery, Basel, November 25th, 2021–January 22nd, 2022. Photo: Annik Wetter (Left) Hard or Soft No. 3, 1969, acrylic, graphite, and marker on canvas, 95 ½ x 65 in. (Right) A Couple, 1966–1967, oil, acrylic, marker, graphite, and crayon on canvas (in two parts), 95 x 124 in. Dear Friends, Ambiguous Zones 7 features a video recording of our January 12th, 2022, webinar with guest speaker Tiffany Lambert, curator of the Gallery at Japan Society in New York. Tiffany’s lecture focused on the connection between Arakawa’s art and Arakawa+Gins’s architecture. We hope you

Ambiguous Zones 6: Lecture and virtual tour by Dr. Ignacio Adriasola of the exhibition ARAKAWA: Waiting Voices at Gagosian Gallery in Basel, December 9th, 2021

Arakawa and Madeline Gins, Study for Sites of Reversible Destiny, digital rendering, ca. 1994 Dear Friends, Happy New Year of the Tiger! We hope you had a restorative holiday break. At the dawn of 2022, all of us here at the Reversible Destiny Foundation and the ARAKAWA+GINS Tokyo Office are looking resolutely toward the new horizon, fresh with limitless possibilities, following Arakawa and Madeline Gins’s commitment to a positive mindset coupled with (serious) playfulness. We begin the year with the sixth issue of Ambiguous Zones, which features a video recording of a lecture by Dr. Ignacio Adriasola that took place

Ambiguous Zones 5: Holiday season

Thanksgiving in July, or a heatwave or somewhere warm in November? Madeline Gins, Arakawa, and Madeline’s parents, Evelyn Gins, and Milton Gins enjoy turkey (or duck?) in the great outdoors, ca. 1977. Dear Friends, This fifth issue of Ambiguous Zones arrives partway into the holiday season. Like last year, the final few weeks of 2021 may not feel quite the same as previous years, but that is all the more reason to focus on spending time with loved ones, whether in person or online. The RDF archive has no shortage of photographic evidence that Madeline and Arakawa did just that

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