Arakawa, Sky No.2, 1968, acrylic and oil on canvas, 48 x 36 in *CLICK HERE FOR PRINTABLE RECIPE* In 1968, Arakawa produced a number of works that took his use of stenciled and written language in a more playful direction than we saw in the paintings included in documenta 4. In canvas and print form, he reproduced recipes for lamb stew, fried pork with sweet-sour sauce, banana cake, and coconut milk cake. These recipes were, in a sense, readymades, found in one or more cookbooks that Arakawa and Madeline had on their shelf. They all follow a similar formula: Arakawa copied a page onto the surface of each work and then diagrammed the ingredients. For Distraction Series 7, we present you with our playful response to Sky No. 2, 1968, pictured above, which involved baking the Coconut Milk Cake recipe as it is written in cursive over the surface of the canvas, up until we are left hanging with this final sentence: “To serve, fill between the layers with:”. This incomplete direction seems to demand that the viewer fill the layers by filling in the blank. They may immediately look to the diagram at the bottom to see if that offers

With the launch of The Saddest Thing is That I Have Had to Use Words: A Madeline Gins Reader, edited by Lucy Ives, we wanted to take the opportunity to share with everyone more of Madeline’s poetry and other writings. Some of you may already be aware that a number of audio recordings of Madeline’s public readings and lectures are available on PennSound, a wonderful UPenn project that produces new audio recordings and preserves existing audio archives related to poetry. Thanks to this incredible resource, we can all listen to Madeline read some of her writing aloud, which adds considerably to the experience of engaging with her poetry in particular. For Distraction Series 4, we are highlighting Madeline Gins’s Segue Series reading at Double Happiness, NYC, that took place roughly 19 years ago on May 19, 2001. We especially loved this set of readings that beautifully shows Madeline’s profound ability to be serious while maintaining a sense of play. In this selection, she begins with a series of poems on the Krebs Cycle, which she states she “does not want any biochemist to declare as cute,” and intersperses them with poems about eating Spaghetti, seemingly lighthearted but deeply related, and

For the third iteration of our Distraction Series, we are pleased to share a full-length recording of the world premiere performance of Neon Dance‘s Puzzle Creature at Kamigo Clove Theater during the Echigo-Tsumari Triennale, Niigata Prefecture, Japan, on September 15th, 2018. This new immersive dance work was inspired by the death-eluding architecture designs of Arakawa and Madeline Gins. Since 2017, with research assistance from the Arakawa + Gins Tokyo Office, Japan, and the Reversible Destiny Foundation, NY, London-based group Neon Dance has been studying and exploring the philosophical concept of “architectural body” as defined by Arakawa and Madeline Gins in their 2002 book of the same name. Artistic Director/Choreographer Adrienne Hart’s archival research and visits to their built works in both New York and Japan came together in the creation of Puzzle Creature. Three exquisite dance artists drive this 60-minute performance with wearable artefacts created by the award winning artist Ana Rajcevic forming curious imprints of choreographed action. Puzzle Creature is accompanied by a newly commissioned score for 8 speakers by Oxford based composer Sebastian Reynolds, the work features integrated British and Japanese Sign Language and audio description from Louise Fryer. Organisms that person (you and I) are invited to

In this second installment of our Distraction Series, we are sharing Nobu Yamaoka’s documentary film, WE (2011), featuring Madeline Gins. This film follows Madeline from her studio at 124 West Houston Street to the Bioscleave House in East Hampton, NY, offering another opportunity to spend time with Arakawa+Gins’s reversible destiny architecture. Throughout the film, Madeline provides an intimate look into her extensive, decades-long study of the body, undertaken with Arakawa, as we watch a family explore, navigate, and react to the challenging terrain of Bioscleave House. Thanks to the director’s generosity, this 60 minute film will be available through the end of June, 2020. In case you haven’t had a chance to watch it yet, Children Who Won’t Die (2010) is also available through June via our website. We hope you enjoy We (2011) and will be in touch again with another distraction in two weeks’ time! Yours in the reversible destiny mode, Distraction Series 2: WE, Madeline Gins w/ Japanese subtitles 65 minutes, 2011 How does the body meet the future ? Madeline Gins – poet, architect, visionary – talks about the origin of creation, its secrets, and the future of humanity. This film documents a visit with her

Arakawa, Sky No.2, 1968, acrylic and oil on canvas, 48 x 36 in In 1968, Arakawa produced a number of works that took his use of stenciled and written language in a more playful direction than we saw in the paintings included in documenta 4. In canvas and print form, he reproduced recipes for lamb stew, fried pork with sweet-sour sauce, banana cake, and coconut milk cake. These recipes were, in a sense, readymades, found in one or more cookbooks that Arakawa and Madeline had on their shelf. They all follow a similar formula: Arakawa copied a page onto the surface of each work and then diagrammed the ingredients. For Distraction Series 7, we present you with our playful response to Sky No. 2, 1968, pictured above, which involved baking the Coconut Milk Cake recipe as it is written in cursive over the surface of the canvas, up until we are left hanging with this final sentence: “To serve, fill between the layers with:”. This incomplete direction seems to demand that the viewer fill the layers by filling in the blank. They may immediately look to the diagram at the bottom to see if that offers any hint. When it

  Dear Friends, In these uncertain times, strength and solace can be found in belonging to a community and we wanted to take the opportunity to thank you for being a part of ours. We are all discovering new ways to access and explore art and its potential. As our contribution, the Reversible Destiny Foundation along with ARAKAWA+GINS Tokyo office is pleased to introduce our Distraction Series, a biweekly newsletter with links to a variety of A+G projects. Today, we are sharing Nobu Yamaoka’s 2010 documentary film, Children Who Won’t Die, which introduces the utopian vision of Arakawa and Gins with a focus on the Reversible Destiny Lofts Mitaka in Tokyo, a culmination of their research into the way the body interacts with the architectural space that surrounds it. With extensive footage of Arakawa speaking about the project, along with first-hand accounts from residents of the Lofts, Children Who Won’t Die, offers a look into how the challenging environment of the lofts shifted each person’s experience of daily life, opening up into a poignant meditation on life and death. Thanks to the generosity of the film’s director, the full-length 80 minute film will be openly available through the end of