BIOGRAPHY
マドリン・ギンズ (1941-2014)
1941年ニューヨークに生まれ。1962年バーナード・カレッジを卒業。ブルックリン美術館アート・スクールより絵画研究奨学金を受ける。著書に『Word Rain(or A Discursive Introduction to the Intimate Philosophical Investigations of G,R,E,T,A,G,A,R,B,O, It Says) 』（69年）、『Intend』（73年）、『What the President Will Say and Do!!』（84年）、『Helen Keller or Arakawa』（94年）。『ヘレン・ケラーまたは荒川修作』（2010年）。
Biography
1941
Born November 7 in New York
1962
Graduated from Barnard College,
1963
Began collaborating with Arakawa on the research project The Mechanism of Meaning
1987
Founded with Arakawa Reversible Destiny Foundation (formerly Containers of Mind Foundation)
2014
Died in NY on January 8
Awards
1997
College Art Association’s Artist Award for Exhibition of the Year/Distinguished Body of Work, Presentation or Performance Award
1998
The highest award in the Rainbow Town Urban Design Competition goes to the Arakawa/Gins Chinju no Mori/Sensorium City (Tokyo Bay)
2003
Nihon Gendai Geijutsu Shinko Sho – Award for innovation in Japanese contemporary art from Japan Arts Foundation
Conferences
2005
“Arakawa and Gins: Architecture and Philosophy,” University of Paris X-Nanterre
2008
“Reversible Destiny Declaration of the Right Not to Die: Second International Arakawa +Gins Architecture + Philosophy Conference/Congress,” University of Pennsylvania, Slought Foundation
2010
AG3: The Third International Arakawa and Gins: Architecture and Philosophy Conference, Griffith University, Australia
Constructions
1994
Ubiquitous Site * Nagi’s Ryoanji *, Architectural Body, [Permanent Installation], Nagi MOCA, Nagi
1995
Site of Reversible Destiny, Yoro, Gifu Prefecture [a seven acre site in central Japan]
1997
Reversible Destiny Office, Yoro, Gifu Prefecture
2001-05
External Genome Housing Project, Shidami, Nagoya, Aichi Prefecture, Japan. (Completion Date, 2005)
2002-05
Reversible Destiny Lofts Mitaka – In Memory of Helen Keller -, Tokyo, Japan
2000-08
Bioscleave House, East Hampton, Long Island (Completion Date: April 2008)
2013
Biotopological Scale-Juggling Escalator (Dover Street Market New York, COMME des GARCONS), New York, NY
Exhibitions Arakawa/Gins:
1972
Traveling Exhibition: The Mechanism of Meaning
Frankfurter Kunstverein, Frankfurt
Kunsthalle Hamburg, Hamburg
Kunsthalle Bern, Bern
Nationalgalerie Berlin, Berlin
Städtische Galerie im Lenbachhaus, Munich
1990
Ronald Feldman Gallery, New York
1997
Guggenheim Museum Soho: Reversible Destiny
1998
NTT Intercommunication Center: The City as the Art Form of the Next Millennium
Bibliography:
Helen Keller or Arakawa.(Japanese) Tokyo: Shinshokan, 2010.
Making Dying Illegal, Architecture Against Death: Original to the 21st Century. (in collaboration with Arakawa). Tokyo: Shunjusha, 2007
Making Dying Illegal, Architecture Against Death: Original to the 21st Century. (in collaboration with Arakawa). New York: Roof Books. (November, 2006).
Le Corps Architectural (in collaboration with Arakawa). Paris: Editions Manucius, 2005.
Architectural Body (in collaboration with Arakawa). Tuscaloosa: University of Alabama Press, 2002.
Reversible Destiny: We Have Decided Not to Die (Guggenheim Catalog) (in collaboration with Arakawa). New York: Abrams, Inc., 1997.
ARCHITECTURE: Sites of Reversible Destiny (Architectural Experiments after Auschwitz-Hiroshima) (in collaboration with Arakawa). London: Academy Editions, 1994.
Helen Keller or Arakawa. Santa Fe: Burning Books with East/West Cultural Studies, 1994.
To Not To Die (in collaboration with Arakawa). Paris: Editions de la Difference, 1987.
What the President Will Say and Do!! New York: Station Hill Press, 1984.
The Mechanism of Meaning (in collaboration with Arakawa) (introduction by Lawrence Alloway). Munich: Bruckmann, 1971. New York: Harry N. Abrams, Inc., 1979 (2nd edition). New York: Abbeville Press, 1989 (3rd edition).
For Example (A Critique of Never) (in collaboration with Arakawa). Milan: Alessandra Castelli Press, 1974.
Intend. Bologna: Tau/ma, 1973.
Word Rain (or A Discursive Introduction to the Philosophical Investigation of G,R,E,T,A, G,A,R,B,O, It Says). New York: Grossman/Viking,
Essays:
“Biotopological Report #10, First Draft, 2006,” (in collaboration with Arakawa). The Canary 6, 2007 Kerb, 2007/2008
“(untitled),”“(untitled),”“(Poem Precedes Title),” “The The Eyelid,” Outing,” “Localization and Transference.” Seance, 2006, (in collaboration with Arakawa). pp. 169 – 171. 2006, p. 171.
“The Architectural Body – Landing Sites,” (in collaboration with Arakawa). Space in America: Theory History Culture, (editors) Klaus Benesch and Kerstein Schmidt, Fall 2005.
“LIVING BODY Museumeum,” Cities Without Citizens. 2003, pp. 243 -157
“Gifu-Reversible Destiny” (in collaboration with Arakawa). Architectural Design, Games of Architecture, 1996, pp. 27-35.
“Housing Complexity” (in collaboration with Arakawa). Journal of Philosophy and the Visual Arts no. 6, Complexity, 1995, pp. 88-95.
“Landing Sites/The End of Spacetime” (in collaboration with Arakawa). Art and Design, May-June, 1993.
“Person as Site in Respect to a Tentative Constructed Plan” (in collaboration with Arakawa). ANYWHERE, 1992, pp. 54-67.
“The Tentative Constructed Plan as Intervening Device (for a Reversible Destiny)” (in collaboration with Arakawa). A+U: Architecture and Urbanism, December 1991, pp. 48-57.
“The Process in Question,” Critical Relations. Highgate Art Trust, (editor) Joan Burns, MA: Williamstown, 1989.
“To Return To!” (in collaboration with Arakawa), Marcel Duchamp and the Avant-Garde Since 1950. Koln: Ludwig Museum, 1988.
"Essay on Multi-Dimensional Architecture” (selections published in Boundary 2, Fall 1985/Winter 1986, and Pratt Architectural Journal, Spring 1988).
“Forum: Arakawa’s The Sharing of Nameless, 1982-83,” DRAWING, Jan.-Feb. 1985, pp. 103-104.
Selected Articles & Reviews:
Ariane Lourie Harrison. “Case Studies: Arakawa and Gins, Bioscleave House.” Architectural Theroies of the Environment: Posthuman Theory.New York, NY:Routledge,2013.80-87. Print.
Jean-Francois Lyotard. Que Peindre?: Adami, Arakawa, Buren. Paris: Hermann Editeurs, 2008.
R. Klanten, L. Feireiss. Eds. Strike a Pose: Eccentric Architecture and Spectacular Spaces. September 2008.
Jondi Keane.”Initiating Change: Architecting the Body-Environment with Arakawa and Gins.” Architectural Design No. 221. January/February 2013, pp76-83.
Jondi Keane. “Exert Yourself in Wholly Other Ways,” Kerb, 2007/2008
Jondi Keane. “Situating Situatedness through Affect and the Architectural Body of Arakawa and Gins,” Janus Head, Winter/Spring Issue 2007, 9.2, pp. 437-457
Fred Bernstein. “A House Not for Mere Mortals,” New York Times, April 2008
Costica Bradatan. “The Alchemists of the 21st Century,” Review of Making Dying Illegal. Architecture against Death: Original to the 21st Century, Parallax, 13 (2008).
Florentine Sack. Open House: Towards a New Architecture. 2006, pp. 131- 143.
“Design Innovation House: Reversible Destiny Lofts.” Archiworld, 2006.
Mari Hashimoto. “How to Live in Reversible Destiny Lofts with Directions for Use.” Casa Brutus, February 2006.
Yoshihio Sano. “The trial to cross-over.” Japan Architect, February 2006.
Lawrence B. Nagy. “Parcours vita a domicile.” Monde, February, 26, 2006.
Tomoko Otake. “Home sweet ‘death-defying’condo homes.” The Japan Times, January 15, 2006.
Takeshi Matsuda. “Closeup: Building a Residence with Tubes, Spheres and Cubes.” Nikkei Architecture, May 2, 2005
Joel David Robinson. “From Clockwork Bodies to Reversible Destinies (On the Architectural Experiments of Arakawa and Gins).” Art Papers, March/April 2005.
Lisa Licitra Ponti. “Arakawa + Gins. Living Bodies.” Domus 879, March 2005.
Susan Stewart. “On the Art of the Future.” The Chicago Review, Winter 2004/2005.
Karen MacCormack. “Mutual Labyrinth: A Proposal of Exchange.” Architectures of Poetry. Eds., Dworkin, Craig Douglas and Maria Eugenia Diaz Sanchez. Amsterdam: Rodopi, 2004
Michel Delville. “How Not to Die in Venice: The Art of Arakawa and Madeline Gins.” Architectures of Poetry. Eds., Dworkin, Craig Douglas and Maria Eugenia Diaz Sanchez. Amsterdam: Rodopi, 2004
Michelle Delville. “How Not to Die in Venice: The Art of Arakawa and Madeline Gins” Reading the Illegible (Avant-Garde and Modernism Studies). Ed. by Craig Dworkin. Chicago: Northwestern University Press, 2003.
David Kolb. Review of Architectural Body. Continental Philosophy Review, 2003.
Patrick Pardo. “Regarding the Lives of Human Snails: Arakawa/Gins and the Architectural Body.” The Daily NY Arts Newsletter. May 15, 2003, p.1.
Aaron Kunin. “Stay Alive: Gins and Arakawa vs. The Grim Reaper.” The Village Voice, January 15 – 21, 2003.
Joel David Robinson. Review of Architectural Body. Parachute, April 5, 2003.
Geraldine McKenzie. Review of Architectural Body. How2, Spring 2003.
Jean-Michel Rabate, ed. “Architecture Against Death Architecture” Interfaces (21-22) A + G Special Double Issue, Fall 2003.
Mary Ann Caws. “Taking Textual Time” Reimagining Textuality: Textual Studies in the Late Age of Print. Edited by Elizabeth Bergmann Loizeaux and Neil Fraistat. Wisconsin: The University of Wisconsin Press, 2002.
Jeff Byles. “The Reversible Destiny: Architecture of Arakawa and Madeline Gins.” Plazm, 27, 2002.
Arthur C. Danto. “Arakawa-Gins.” The Nation, August 11/18 1997, pp. 31-34.
Reprinted in The Madonna of the Future: Essays in a Pluralistic Art World. New York: Farrar, Straus and Giroux, 2000. pp.265-272
Samira Kawash. “Bodies at Risk- The Architecture of Reversible Destiny.” PAJ 59, 1998, pp. 17-27.
Tom McEvilley. “Arakawa and Gins at the Guggenheim Soho.” Art in America, January 1998, pp. 100-101.
Mark Amerika. “Astrophysical Grammatology- Helen Keller or Arakawa.” American Book Review, February-March 1996, Vol. 17, No. 3, p. 18. Gendai Shiso. (The Journal of Contemporary Thought – Tokyo), (Each issue of this journal is devoted to the work of a leading contemporary thinker). August 1996, devoted to the work of Arakawa/Gins.
Serge Gavronsky. “Dot Lamour.” Witz, A Journal of Contemporary Poetics, Winter 1994, Volume III, No. 1.
Mary Ann Caws. “Madeline Gins- Helen Keller or Arakawa.” Journal of Philosophy and the Visual Arts, no. 6, Complexity, 1995, p. 96.
Robert Creeley. “‘Someplace Enormously Moveable’- The Collaboration of Arakawa and Madeline Gins.” Art Forum, Vol. 18 (Summer, 1980), pp. 60-65.
