Dear Friends,  We are pleased to bring you a special edition of Ambiguous Zones, 14, written by our summer intern, Jlynn Rose, who joins us from Pratt Institute where she is completing a BFA in Fine Arts with a minor in art history and philosophy. In her essay, “WORD RAIN: Poetics of Friction and Conflation,” Jlynn shares her reflections on some of Madeline Gins’s work after reading The Saddest Thing Is That I Have Had to Use Words: A Madeline Gins Reader, edited by Lucy Ives, in the first week of her internship. Taking Ives’s invocation of Adrian Piper in her introduction as a starting point, Jlynn moves on to a rigorous investigation of Gins’s words. Yours in the reversible destiny mode, Reversible Destiny Foundation and the ARAKAWA+GINS Tokyo Office WORD RAIN: Poetics of Friction and Conflation by Jlynn Rose In Lucy Ives’s introduction to The Saddest Thing Is That I Have Had to Use Words: A Madeline Gins Reader, edited by Ives and published by siglio in 2020, she draws a parallel between Gins and another conceptual artist, wordsmith, and philosopher, Adrian Piper. Specifically, Ives notes that Piper’s Food for the Spirit (1971), a performance piece and series of fourteen black-and-white self-portraits, is

Cover of Lincoln Center Playbill, May 1979, 124 W Houston Documents, Box 4N14, Folder 50, Reversible Destiny Archives. Dear Friends,  In Ambiguous Zones 13, RDF’s project archivist, Kathryn Dennett, delves into the story behind a mysterious find in an archival box: a Lincoln Center playbill from May 1979…mentioning Arakawa. This playbill was for an evening performance by composer Edvard Lieber that included a composition entitled “Neither Arakawa Nor Jasper Johns Are Each Other.” Taking this intriguing piece as her starting point, Kathryn outlines Lieber’s career, highlighting a second piece inspired by Arakawa’s work, in this case, Blank Stations II, 1982, performed at the Wadsworth Atheneum in Hartford. Yours in the reversible destiny mode,Reversible Destiny Foundation and the ARAKAWA+GINS Tokyo Office *Ambiguous Zones has now moved to a quarterly schedule. We’ll be sharing AZ content with you every three months and any important news updates as they arise!* Figure 1. From “Lincoln Center Playbill from Edvard Lieber program including ‘Neither Arakawa Nor Jasper Johns Are Each Other,’” 124 W Houston Documents, Box 4N14, Folder 50, Reversible Destiny Archives. As the archivist at the Reversible Destiny Foundation, I am familiar with a variety of types of sources: poem drafts, preliminary sketches for paintings, scientific research articles, digital renderings

Dear Friends, The new year brings with it the twelfth edition of our Ambiguous Zones newsletter, written by guest author Chaeeun Lee who thoughtfully considers Arakawa and Madeline Gins’s concept of Blank. Chaeeun is a PhD Candidate in Art History at CUNY Graduate Center and a research intern at the Reversible Destiny Foundation. She is writing her dissertation on the politics of abstraction and aesthetics in the work of Asian American and Asian immigrant artists during the 1960s and the 1970s, exploring the ways in which their work problematized the established norms of racial, cultural, and gender identification in search of alternative constructions of the self and the world.  Chaeeun’s beautiful essay offers readers an accessible introduction to Blank that serves as a novel way to meditate on seasonal themes of fresh starts and shifting perspectives. Yours in the reversible destiny mode,Reversible Destiny Foundation and the ARAKAWA+GINS Tokyo Office “LOUDLY THERE AND SHIFTING ABOUT AND TUMBLING INTO VIEW”: TRACING BLANK IN THE WORK OF ARAKAWA AND MADELINE GINS, 1968-1982 by Chaeeun Lee Figure 1. Arakawa, Study for “Shifting Blank,” 1979. Acrylic and graphite on lithograph and paper, 42 1/2 x 59 7/8 in. (108 x 152.1 cm). In Arakawa’s Study for “Shifting Blank,” a legion of

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 Association for Asian American Studies among others. He has been conducting a series of oral history interviews on Montez Press Radio since 2019. Yours in the reversible destiny mode,Reversible Destiny Foundation and ARAKAWA+GINS Tokyo Office Figure 2. Installation shot from 1964 Zuni exhibition, photograph by Sherwin Greenberg Studio, Inc. In a January 1967 Artforum article, critic Yoshiaki Tono recalls his surprise at a new group of artists who had appeared in Tokyo during the late 1950s. He frames these artists, who called their collective Neo Dada (initially the Neo Dadaism Organizers), through their formative postwar upbringing, writing that “they desired an art

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 summer. While Arakawa most likely did not intend for the recipe to be baked, this painting offers a set of instructions that you can follow, as many of his other paintings explicitly ask you to do. It is always an interesting experiment to see the divergent outcomes when different people follow the same set of instructions. Irma S. Rombauer and Marion Rombauer Becker, “Banana Cake,” in The Joy of Cooking (Indianapolis: Bobbs-Merrill, 1963), 630. This recipe comes from the 1963 edition of The Joy of Cooking, which Madeline and Arakawa most likely had on their shelves and was often the

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 the time.  Developed alongside Madeline Gins, this series of panels rigorously interrogated perception, the process of receiving, organizing, and interpreting information using our senses, in this case mainly sight. These works were accompanied by related drawings and diagrammatic paintings from the 1960s that turned the show into a retrospective of Arakawa’s work over the previous decade. Yours in the reversible destiny mode, Reversible Destiny Foundation and the ARAKAWA+GINS Tokyo Office Floor plan sketch of the Japan Pavilion at the 35th Venice Biennale by Yoshiaki Tono, included in a letter from Tono to Arakawa delivered to New York on January 21st, 1970.

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 will enjoy this brief contemplation on physics all the more knowing that scientists were wrong, luckily, in their prediction that asteroid 2009 JF1 would hit the Earth on May 6th, 2022! Yours in the reversible destiny mode, Reversible Destiny Foundation and ARAKAWA+GINS Tokyo Office Non-gravitational Being, 1983-84: A Meditation by Amara Magloughlin Arakawa’s painting, Non-gravitational Being, 1983-84, sets up the viewer to encounter a large-scale map covered with arrows pointing in different directions in a pattern reminiscent of air currents. The far-left side of the map appears to be incomplete, but is it unfinished? Has it been erased in some

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 find it as illuminating as we did! Moving forward, Ambiguous Zones will arrive at your inbox every two months, which will give us time to explore certain topics in greater depth. In the meantime, please join us for the international conference AGxKANSAI 2022: Art and Philosophy in the 22nd Century After ARAKAWA+GINS, organized jointly by the Studies of the Architectural Body Research Group at Kansai University and Kyoto University of the Arts. The event will take place from March 11–15, 2022 at Kyoto University of the Arts with a combination of in-person and virtual presentations and a live broadcast of

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 year round. Regardless of how your celebrations shape up this year, we hope these photographs of Madeline and Arakawa dining with friends and family get you into the festive spirit! In the meantime, we are sending warm wishes for a lovely December! Yours in the reversible destiny mode, Reversible Destiny Foundation and ARAKAWA+GINS Tokyo Office Arakawa and Madeline drink coffee and eat pie inside after their meal outside, ca. 1977. Madeline calls across the table to a guest at a dinner party at 124 W Houston St. Arakawa laughs at a dinner with friends at 124 W Houston St. Arakawa

Dear Friends, In honor of Madeline Gins’s birthday on November 7th, the fourth edition of Ambiguous Zones focuses on one of her unpublished books. Madeline considered two possible titles that sum up the content quite well: “Conversations for our time: poet and physician” or “Medically in Our Time.” This book is based on a series of interviews that Madeline carried out with doctors with a variety of specialties, including neurology and psychiatry, an acupuncturist, and patients. Her overarching goal was to provide a course of action for the patient/reader that would help them navigate different approaches to their healthcare, including standard medical care, alternative therapies, vitamin regimens, and care related to their mental health, whether through psychiatry or other mind-body modalities like meditation and hypnosis. Help us celebrate Madeline’s 80th birthday by doing whatever mind-body exercise speaks to you the most. Yours in the reversible destiny mode, Reversible Destiny Foundation and ARAKAWA+GINS Tokyo Office In the late 1970s and early 1980s, Madeline Gins conducted multiple interviews with a variety of doctors and patients over the course of five years for a book that she would never publish. Her goal was to approach the evidence surrounding various treatments for disease from

The Reversible Destiny Lofts—Mitaka (In Memory of Helen Keller) in its near-completion phase, 2005, Tokyo. Photo by Masataka Nakano Dear Friends, Did you know that today, October 15th, is the official “birthday” of the Reversible Destiny Lofts—Mitaka (In Memory of Helen Keller) in Tokyo? Designed by Arakawa+Gins and completed on this day in 2005, it is one of the most unique apartment buildings in Japan. There are a total of nine units in the building: five of them are currently occupied by tenants, two are offered for short-term stays and remote work space programs as well as group tours, events, and workshops, and the last two units house the ARAKAWA+GINS Tokyo Office, which manages all aspects of the operations there. The Mitaka Lofts has attracted thousands of people from around the world, many of whom have made a special pilgrimage to experience the space in person. At the time of its opening 16 years ago, people were beguiled by it and they hotly debated whether this was architecture or art. Arakawa’s vision, however, was clear that this was to be a residential building, inhabited and used by people. Through this creation, he aspired to change Japan and even the world

1. Snapshot of Arakawa taking a snapshot in Japan The end of summer brings another round of travel photos for the second edition of Ambiguous Zones! Hopefully some of you were able to travel yourselves this summer and extra bonus points if you got to see some art, like the Alexander Calder sculpture Arakawa and Madeline saw in France in 1980, or become the art, like Madeline did in Venice in the summer of 1969. We hope you enjoy this selection of photographs that bring Arakawa and Madeline from Japan to France and Italy, back to the U.S., and finally to Tula, Mexico. Yours in the reversible destiny mode, Reversible Destiny Foundation and ARAKAWA+GINS Tokyo Office 2. Arakawa and Madeline in front of a mountain scene in Japan (1979) 3. Madeline and Arakawa standing on a porch swing set in Japan (1979) 4. Madeline and Arakawa at Kenrokeun 5. Madeline and Arakawa performing purification ritual with water at a shrine in Japan (1 Jan 1995) 6. Arakawa reading the paper on a train in Japan 7. Arakawa posing in front of a wall 8. Madeline on the deck of a ship (Probably the QEII) 9. Arakawa on the deck of

Arakawa at the beach, Japan, ca. mid 1950s Dear Friends, At the Reversible Destiny Foundation, the start of summer brings with it an air of celebration for Arakawa’s birthday on July 6th, when he would have turned 85. This year, it also heralds a change in our monthly newsletter. We started the Distraction Series at the beginning of the pandemic when many of us were adjusting to being at home full time. As things begin to open up at various rates, we think it is time to move onto a new monthly newsletter, Ambiguous Zones, that will continue to explore various themes related to Arakawa and Madeline Gins. For the inaugural AZ newsletter, we took summer and Arakawa as inspiration for a brief look at the ambiguous zone of the beach, as seen in Arakawa’s 1967 painting A Self-Portrait Near the Ocean. We hope this leaves you with something to think about as you take your own selfies on the beach this summer! Yours in the reversible destiny mode, Reversible Destiny Foundation and ARAKAWA+GINS Tokyo Office Arakawa, A Self-Portrait Near the Ocean, 1967, oil, acrylic, graphite, art marker and collage on canvas, 90 x 63 in. Photo by Rob McKeever.

Madeline and Arakawa with Mesoamerican statues in Tula, Mexico Given the current limitations on travel, Distraction Series 10 is here to bring you on a round-the-world armchair vacation with Arakawa and Madeline. From Mesoamerican ruins in Tula, Mexico, to Italy, France, Japan, and various locations in New York state, join us as we travel through time and space from the point of view of our two founders. We’ve pulled around twenty photographs from our archive for your viewing pleasure – scroll down for the images with descriptive captions. Winter, Spring, Summer, and Autumn, you’ll find Arakawa and Madeline posing, taking photographs, examining their environment, and planning their day over breakfast. Enjoy! Yours in the reversible destiny mode, Reversible Destiny Foundation and ARAKAWA+GINS Tokyo Office Arakawa and Madeline posing in front of Japanese buildings in snow (3 Jan 1995) Arakawa and Madeline on a boat in Venice Madeline with haystacks in France Arakawa in front of a castle in France Madeline and Arakawa walking on a street near a horse drawn trailer (Sep 1986) Arakawa walking up stairs in Europe Madeline on the deck of a boat Madeline touching plants on a trail in Japan (1979) Madeline and Arakawa walking outside

Dear Friends, At the Reversible Destiny Foundation, the start of summer brings with it an air of celebration for Arakawa’s birthday on July 6th, when he would have turned 85. This year, it also heralds a change in our monthly newsletter. We started the Distraction Series at the beginning of the pandemic when many of us were adjusting to being at home full time. As things begin to open up at various rates, we think it is time to move onto a new monthly newsletter, Ambiguous Zones, that will continue to explore various themes related to Arakawa and Madeline Gins. For the inaugural AZ newsletter, we took summer and Arakawa as inspiration for a brief look at the ambiguous zone of the beach, as seen in Arakawa’s 1967 painting A Self-Portrait Near the Ocean. We hope this leaves you with something to think about as you take your own selfies on the beach this summer! Yours in the reversible destiny mode, Reversible Destiny Foundation and ARAKAWA+GINS Tokyo Office Arakawa, A Self-Portrait Near the Ocean, 1967, oil, acrylic, graphite, art marker and collage on canvas, 90 x 63 in. Photo by Rob McKeever. Courtesy of Gagosian. As summer officially begins, Arakawa’s

For Distraction Series 19, we were inspired to re-examine the friendship between Arakawa, Madeline Gins, and Ray Johnson after seeing Ray Johnson: WHAT A DUMP at David Zwirner’s West 19th Street gallery in New York. Curated by Jarrett Earnest, this thoughtful exhibition brings together a variety of works and materials from the Ray Johnson Estate. If you are in New York and have not yet seen it, you have until May 22nd! In the meantime, we hope you enjoy this selection of items from our archive alongside pieces from the exhibition and the Ray Johnson Estate. Aside from some personal notes, we find evidence of the trio’s friendship exactly where we would expect to – within Ray Johnson’s mail art, collages, and other ephemera. From bunnies, to comic strips and coloring book pages, to stamps with quotes about mail art, to a page of repeated hand-stamped descriptions of his collage process, both Madeline and Arakawa received a number of very interesting mailings from Johnson’s New York Correspondence School (sometimes with different spellings of correspondence). Madeline was also mailed a photocopy of an article published in a Finnish magazine that featured a letter from Johnson printed in mirrored typed text, making

A few months ago, Reversible Destiny Foundation’s project archivist Kathryn Dennett came across a folder labeled, “Man Repellent Archive.” Kathryn was “instantly intrigued. Inside there were sticker labels and invoice forms from perfume bottle companies. What was this mysterious perfume? Why would Madeline be developing a ‘man repellent’ that ‘works paradoxically?’ And what does ‘working paradoxically’ even mean?” For Distraction Series 17, we present to you snapshots of the Man Repellent, a perfume project developed by Madeline Gins around 2011, as well as excerpts from a recorded conversation with Aviva Silverman, Madeline’s former assistant and main collaborator on the project. The Man Repellent was a perfume, originally meant to be part of a line of “repellents” including “woman” and “baby” versions, that would “paradoxically” attract the supposedly repelled category to the wearer. The “man” version was the only one ever designed. The process unfolded over the course of 4 or 5 months, the logo design developing from an antique cameo to the final collage of various athletic balls. Conceived of originally as a product to be sold in museum stores, it was never put into production, but the project illustrates the collaborative and iterative nature of Madeline’s creative process, particularly

Hayao Miyazaki and Arakawa at the Reversible Destiny Lofts Mitaka—In Memory of Helen Keller, photograph by Momoyo Homma, 2005 Dear Friends, As a part of a series in which we focus on archival materials revealing “friends of Arakawa and Gins” (tentative title), we are happy to share with you, in Distraction Series 16, a glimpse into the friendship between Arakawa and the animation film director Hayao Miyazaki. Miyazaki perhaps needs no introduction even to those who are not so keen on animated movies. Just think of the global hits like My Neighbor Totoro (1988) and Spirited Away (2001). However, his friendship with Arakawa is not widely known. They developed kinship after Miyazaki visited the Site of Reversible Destiny—Yoro around late 1997 or early 1998. Thanks to this encounter, they began to appear together in public talk programs and they also frequently visited each other’s office to have private discussions. On many occasions, they became so engaged in their conversation that they both had to cancel their other appointments to continue talking. Seeing them converse with such enthusiasm was like watching two imaginative kids planning their ideal secret fort in their own world. Hayao Miyazaki at the Reversible Destiny Lofts Mitaka—In

For Distraction Series 15 we share with you words from a close friend of Madeline and Arakawa, poet – Don Byrd:   Madeline and Arakawa were the most generous of artists, forever looking for co-conspirators. I would get phone calls from Madeline. “Hi, are you well enough to talk? How are we not going to not to die?” To Not To Die, as in the title of one of their most important books. Sometimes I got packages of texts from them. They were signals to expect a call. Sometimes she would put me on hold to talk to Arakawa about what I was saying. They were in touch with many others. When they wanted to follow an idea, Madeline would call people out of the blue, promise to send their books, and hit them with questions. We can now see that their collaborative work from the Mechanism of Meaning to the last architectural work is of a piece. It is not an aesthetic or theoretical whole; it is an incomplete and incompletable project, not a work of art but a work of life, inevitably cut short. Madeline and Arakawa were masters. They filled their vision not with concepts or images

Dear Friends, For Distraction Series 14 we share with you a handful of mail from Arakawa and Madeline Gins’s archives to remind us of the significant role our postal service has in our larger architectural body. Arakawa and Madeline were embedded in a vibrant community of friends from all over the world and their correspondence reveals what a unique and playful relationship they had with many of those around them. In their book Making Dying Illegal (2006) and Arakawa’s painting Who Is It? No.2 (1970) we see examples of how this intimate letter format is used in their work. As Madeline would say, “Reversible Destiny will be achieved communally or it will not be achieved at all.” We have selected a small number of letters and cards primarily from the 1960’s and 1970’s to share with you today, including ones from A+G’s friends such as Kate Millet, Ray Johnson, their physical therapist, and a 12-year-old named Martine Rubin. As many of us prepare for the holiday season ahead and begin writing cards to family, friends and loved ones, hopefully something here might inspire you. Love, RRRRReversible Destiny Foundation and the ARAKAWA+GINS Tokyo Office P.S. If you have received any mail