{"id":16798,"date":"2022-07-09T14:16:26","date_gmt":"2022-07-09T05:16:26","guid":{"rendered":"https:\/\/www.architectural-body.com\/?p=16798"},"modified":"2022-07-12T14:47:49","modified_gmt":"2022-07-12T05:47:49","slug":"ambiguous-zones-9-venice-biennale","status":"publish","type":"post","link":"https:\/\/www.architectural-body.com\/?p=16798&lang=en","title":{"rendered":"Ambiguous Zones 9: Venice Biennale"},"content":{"rendered":"\t\t
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Arakawa at a caf\u00e9 in Piazza San Marco, Venice, most likely 1970, on Polaroid paper stock dated to 1969. The caf\u00e9 in question is most likely Caff\u00e8 Lavena.\t<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Dear Friends,<\/p>

For Ambiguous Zones 9<\/strong>, we travel to the Japan Pavilion at the 35th<\/sup> 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.\u00a0 Several canvases were exhibited from Arakawa\u2019s large-scale project, The Mechanism of Meaning<\/em>, which began in 1963 and was still in progress at the time. \u00a0Developed 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\u2019s work over the previous decade.<\/p>

Yours in the reversible destiny mode,<\/p>

Reversible Destiny<\/em>\u00a0Foundation and the ARAKAWA+GINS Tokyo Office<\/strong><\/p><\/div><\/div><\/div>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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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. From the archive of ARAKAWA+GINS Tokyo Office. This sketch was recently published in Benechia biennare to nihon (Japan at the Venice Biennale: 1952\u20132022)<\/i>, (Tokyo: Japan Foundation; Heibonsha, 2022), p. 222.<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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The 35th<\/sup> Venice Biennale took place in 1970 in the shadow of the student protests of 1968. To address what Yoshiaki Tono, the commissioner for the Japan Pavilion in 1970, saw as problematic with the exhibition\u2019s national framework, he decided to choose an artist, Arakawa, who reflected what he felt could be a common theme for the Biennale as a whole\u2014the practice of conceptual art.[1] This was the first time that the inner gallery of the Japan Pavilion had been dedicated to a singular artist, though a sculpture by Mono-ha artist Nobuo Sekine was included outside.<\/p>

The focus of the show was several large panels from The Mechanism of Meaning<\/em>, a project that was still in progress, began in 1963 with Arakawa\u2019s partner, Madeline Gins. This was the first time that The Mechanism of Meaning<\/em> was shown, with Arakawa and Gins completing the project for its first publication in 1971.<\/p><\/div><\/div><\/div><\/div><\/div><\/div>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Installation view of the Japan Pavilion at the 35th Venice Biennale, 1970. Photo: Yoshiaki Tono<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Drawings and canvases from the 1960s rounded out the gallery, creating a retrospective of Arakawa\u2019s work from that decade. Like The Mechanism of Meaning<\/em>, these works explored the process of meaning-making through language, and the different stages of (mainly visual) perception\u2014stimulation, observation, interpretation\u2014occurring at both the preconscious and conscious levels.<\/p>

The Biennale catalogue entry was written by Greek-American poet and art critic Nicolas Calas, who used the allotted space to explore in brief Arakawa\u2019s use of signs in a strange context to make the viewer question what their next \u201cvisual move\u201d should be.<\/a>[2]<\/a> Calas suggested that offering simple instructions when the \u201cvisual structure of the reference is unexpected\u201d served to widen the rift \u201cbetween what you see and what you know.\u201d[3]<\/p>

In an article for the New York Times<\/em>, Frederic Tuten discussed the boycott of the American Pavilion by \u201cmore than half of the 47 American artists\u201d, who withdrew their works \u201cin protest against the war in Vietnam and Cambodia.\u201d<\/a>[4] <\/a>Naming Richard Smith and Arakawa as the only two artists pursuing more traditional art \u201cworth discussing,\u201d he goes on to offer these considerations of Arakawa\u2019s work:<\/p><\/div><\/div><\/div>

Arakawa\u2019s series of 13 paintings bear images and text\u2014words and sentences posed as instructions to the viewer\u2014which if taken literally would blur or modify the viewer\u2019s reading of the images and which also serve as visual structures in the painting. The work seems superficially formal and frigid but it decidedly carries great reserves of intelligence and personality.<\/em>[5]<\/a><\/p><\/div><\/div><\/div>

As at the 34th<\/sup> Biennale in 1968, where artists protested war, unfair working conditions, and uneven power structures in part by removing their works from display by turning them to face the wall or covering them up, American artists also made a political statement at the 35th<\/sup> Biennale by pulling their work altogether. The power of the artist is distilled into this simple act of withholding work so that it cannot be seen, making both its display and lack of display a political act as well as a social one. Arakawa\u2019s work may not seem overly political at first glance, but in the context of the 35th<\/sup> Venice Biennale, following the upheaval of the 34th<\/sup>, it becomes evident that Arakawa and Gins\u2019s exploration of visual perception, as well as the very act itself, straddles both the political and social realms.\u00a0<\/p>

We hope you enjoy these photographs of Arakawa\u2019s work at the Japan Pavilion at the 35th<\/sup> Venice Biennale!<\/p><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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\"Installation
Installation view of the Japan Pavilion at the 35th Venice Biennale, 1970. Photo: Yoshiaki Tono<\/figcaption><\/figure><\/div>
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Installation view of the Japan Pavilion at the 35th Venice Biennale, 1970. Photo: Yoshiaki Tono<\/figcaption><\/figure><\/div>
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Installation view of the Japan Pavilion at the 35th Venice Biennale, 1970. Photo: Yoshiaki Tono<\/figcaption><\/figure><\/div>
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Installation view of the Japan Pavilion at the 35th Venice Biennale, 1970. Photo: Yoshiaki Tono<\/figcaption><\/figure><\/div>
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Installation view of the Japan Pavilion at the 35th Venice Biennale, 1970. Photo: Yoshiaki Tono<\/figcaption><\/figure><\/div>
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Installation view of the Japan Pavilion at the 35th Venice Biennale, 1970. Photo: Yoshiaki Tono<\/figcaption><\/figure><\/div>
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Installation view of the Japan Pavilion at the 35th Venice Biennale, 1970. Photo: Yoshiaki Tono<\/figcaption><\/figure><\/div>
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Installation view of the Japan Pavilion at the 35th Venice Biennale, 1970. Photo: Yoshiaki Tono<\/figcaption><\/figure><\/div>\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t
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[1]<\/a> Ignacio Adriasola, \u201cJapan\u2019s Venice: The Japanese Pavilion at the Venice Biennale and the \u2018Pseudo-Objectivity\u2019 of the International,\u201d Archives of Asian Art<\/em> 67, no. 2 (2017): 223.<\/p>

[2]<\/a> Nicolas Calas, \u201cShusaku Arakawa,\u201d in 35. Biennale internazionale d\u2019arte: 24 giugno-25 ottobre 1970<\/em> (Venezia: La Biennale di Venezia, 1970), 46.<\/p>

[3]<\/a> Ibid., 47.<\/p>

[4]<\/a> Frederic Tuten, \u201cSoggy Day in Venice Town,\u201d\u00a0New York Times<\/em>, July 12, 1970, sec. Archives. https:\/\/www.nytimes.com\/1970\/07\/12\/archives\/soggy-day-in-venice-town-soggy-day-in-venice.html.<\/p>

[5]<\/a> Ibid.<\/p><\/div><\/div><\/div>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

Arakawa at a caf\u00e9 in Piazza San Marco, Venice, most likely 1970, on Polaroid paper stock dated to 1969. 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