{"id":4570,"date":"2018-01-18T18:53:16","date_gmt":"2018-01-18T09:53:16","guid":{"rendered":"http:\/\/arakawagins.noor.jp\/2020agtokyo\/?p=4570"},"modified":"2022-02-17T21:20:30","modified_gmt":"2022-02-17T12:20:30","slug":"arakawa-and-madeline-gins-eternal-gradient","status":"publish","type":"post","link":"https:\/\/www.architectural-body.com\/?p=4570","title":{"rendered":"Arakawa and Madeline Gins: Eternal Gradient"},"content":{"rendered":"\t\t
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Photos by James Ewing, Courtesy Columbia GSAPP<\/figcaption><\/figure><\/div>
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Photos by James Ewing, Courtesy Columbia GSAPP<\/figcaption><\/figure><\/div>
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Photos by James Ewing, Courtesy Columbia GSAPP<\/figcaption><\/figure><\/div>
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Photos by James Ewing, Courtesy Columbia GSAPP<\/figcaption><\/figure><\/div>
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Photos by James Ewing, Courtesy Columbia GSAPP<\/figcaption><\/figure><\/div>
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Photos by James Ewing, Courtesy Columbia GSAPP<\/figcaption><\/figure><\/div>
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Photos by James Ewing, Courtesy Columbia GSAPP<\/figcaption><\/figure><\/div>
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Photos by James Ewing, Courtesy Columbia GSAPP<\/figcaption><\/figure><\/div>
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Photos by James Ewing, Courtesy Columbia GSAPP<\/figcaption><\/figure><\/div>
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Photos by James Ewing, Courtesy Columbia GSAPP<\/figcaption><\/figure><\/div>
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Photos by James Ewing, Courtesy Columbia GSAPP<\/figcaption><\/figure><\/div>
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\"convert\"<\/p>

Critical Holder Chart 2 (detail), c1991 \/ Image Credit: \u00a9 2017 Estate of Madeline Gins. Reproduced with permission of the Estate of Madeline Gins<\/span><\/p>

\u00a0<\/p>

Tour details:<\/strong><\/p>

Graham Foundation, Chicago, February 7, 2019 \u2013 May 4, 2019<\/a><\/p>

Arthur Ross Architecture Gallery \/ Columbia GSAPP, March 30, 2018 \u2013 June 16, 2018<\/a><\/p>

\u00a0<\/h4>

Outline of Graham Foundation, Chicago<\/h4>

February 7, 2019 \u2013 April 27, 2019<\/strong><\/p>

http:\/\/grahamfoundation.org\/public_exhibitions\/5886-eternal-gradient<\/a><\/p>

Arakawa and Madeline Gins: Eternal Gradient <\/em>traces the emergence of architecture as a wellspring of creativity and theoretical exploration for the artist Arakawa (1936\u20132010) and poet and philosopher Madeline Gins (1941\u20132014). Including over 40 drawings and a wide-range of archival materials, this presentation illuminates a pivotal moment within a collaborative practice that spanned nearly five-decades.<\/span><\/p>

In the early 1960s, Arakawa and Madeline Gins began a remarkably original and prolific partnership that encompassed painting, installations, poetry, literature, architecture, urbanism, philosophy, and scientific research. Complementing their independent artistic and literary practices, their collaborative work \u00a0launched with visual, semiotic, and tactile experiments that questioned the limits and possibilities of human perception and consciousness. During the 1980s\u2014a critical juncture in their careers\u2014this line of inquiry became increasingly spatial as Arakawa and Gins together developed a series of speculative architectural projects that sought to challenge the bodily and psychological experience of users. Through these investigations, the artists began to articulate their concept of “Reversible Destiny,” arguing for the transformative capacity of architecture to empower humans to resist their own deaths.<\/span><\/p>

Eternal Gradient <\/em>uncovers a little-known body of visionary work that anticipated the artists\u2019 subsequent commitment to architecture and their realization of various \u201csites of Reversible Destiny,\u201d including: Ubiquitous Site-Nagi\u2019s Ryoanji (1994, Okayama, Japan); Yoro Park (1995, Gifu, Japan); Reversible Destiny Lofts Mitaka (2005, Tokyo, Japan); Bioscleave House (2008, East Hampton, New York); and Biotopological Scale-Juggling Escalator (2013, New York City), completed by Gins after Arakawa\u2019s death.<\/span><\/p>

Eternal Gradient<\/em> originated at the Arthur Ross Architecture Gallery at Columbia University Graduate School of Architecture, Planning and Preservation (GSAPP) and is made possible, in part, by the Estate of Madeline Gins and through a partnership with the Reversible Destiny Foundation.<\/span><\/p>

The exhibition was curated by Irene Sunwoo, GSAPP director of exhibitions and curator of the Arthur Ross Architecture Gallery, with Tiffany Lambert, GSAPP assistant director of exhibitions. The Graham Foundation presentation is organized by Sarah Herda, director, and Ellen Alderman, deputy director of exhibitions and public programs. The exhibition design is by Norman Kelley, a Chicago & New York architecture and design collective founded by Carrie Norman and Thomas Kelley.<\/span><\/p>

(Shusaku) Arakawa <\/strong>(1936\u20132010) was born in Nagoya, Japan and attended the Musashino Art University in Tokyo. Renowned for his paintings, drawings, and prints, as well as his visionary architectural constructions, Arakawa was one of the founding members of the Japanese avant-garde collective Neo Dadaism Organizers and was one of the earliest practitioners of the international conceptual-art movement of the 1960s. After moving to New York from Japan in 1961, Arakawa produced diagrammatic paintings, drawings, and other conceptual works that employed systems of words and signs to highlight and investigate the mechanics of human perception and knowledge. Throughout the following decades Arakawa continued to exhibit at museums and galleries extensively throughout North America, Western Europe, and Japan, with works that grew in scale and visual and intellectual complexity.<\/span><\/p>

Madeline Gins<\/strong> (1941\u20132014) was an American poet, writer, and philosopher. She grew up in Island Park, NY, and graduated from Barnard College in 1962 where she studied physics and philosophy. While studying painting at the Brooklyn Museum Art School in 1962, Gins met Arakawa and she would become one of the primary interpreters of Arakawa\u2019s work. With Arakawa, Gins developed the philosophy of \u201cProcedural Architecture\u201d to further its impact on human lives. These ideas were explored through three books that she co-authored with Arakawa:\u00a0Pour ne Pas Mourir\/To Not to Die<\/em>(\u00c9ditions de la Diff\u00e9rence, Paris, 1987);\u00a0Architectural Body<\/em> (University of Alabama Press, 2002); and\u00a0Making Dying Illegal \u2013 Architecture Against Death: Original to the 21st Century<\/em> (Roof Books, New York, 2006).<\/span><\/p>

The\u00a0Reversible Destiny Foundation<\/strong> was founded in 2010 by Arakawa and Madeline Gins to promote their work and philosophy in the areas of art, architecture, and writing. The Foundation is dedicated to supporting research and greater public interest in the ideas and artistic practice of Arakawa and Madeline Gins through a range of initiatives to further advance and preserve their legacy.<\/span><\/p>

Irene Sunwoo<\/strong> is an architectural historian and curator based in New York. She is Director of Exhibitions and Curator of the Arthur Ross Architecture Gallery at Columbia University\u2019s Graduate School of Architecture, Planning and Preservation (GSAPP). Her exhibitions at Ross Gallery include\u00a0Model Projections<\/em>,\u00a0No. 9 by Frida Escobedo<\/em>,\u00a0Liam Young: New Romance<\/em>, and\u00a0Offsetted<\/em>, a forthcoming exhibition by Cooking Sections. Prior to joining GSAPP, she was Associate Curator of the inaugural Chicago Architecture Biennial (2015). Her book\u00a0In Progress: IID Summer Sessions<\/em> was published in 2016 (AA Publications\/Graham Foundation), and her writing has appeared in\u00a0Grey Room<\/em>,\u00a0Journal of Architectural Education<\/em>,\u00a0AA Files<\/em>,\u00a0Getty Research Journal<\/em>, Domus<\/em>, and\u00a0The Avery Review<\/em>, among other journals. Currently she is preparing a book on Alvin Boyarsky and the Architectural Association, and a separate publication on Arakawa and a Madeline Gins.<\/span><\/p>

Norman Kelley<\/strong>, a New York and Chicago-based architecture and design collaborative, was founded by Carrie Norman and Thomas Kelley in 2012. Norman Kelley\u2019s work seeks to explore architecture and design\u2019s limits between two- and three-dimensions. Along this spectrum, their work re-examines architecture and design\u2019s relationship to vision, prompting its observers to see nuance in the familiar. The practice has contributed work to the 14th Venice Architecture Biennial (2014) and the first and second Chicago Architecture Biennials (2015, 2017), in addition to being the recipients of the United States Artist\u2019s Architecture and Design Fellowship (2018), and the Architecture League of New York Young Architect\u2019s Prize (2014). Their collection of American Windsor chairs is currently represented by Volume Gallery in Chicago.<\/span><\/p>

\u00a0<\/p>

Related Events<\/strong><\/p>

Arakawa and Madeline Gins: Eternal Gradient Opening Reception <\/a><\/h4>

February 7, 2019, 5:30 pm.<\/p>

Political Reading of Arakawa+Gins
L\u00e9opold Lambert<\/a><\/h4>

February 21, 2019<\/p>

Near\/Miss: Bollingen Prize Poetry Reading
Charles Bernstein<\/a><\/h4>

April 17, 2019<\/p>

\u00a0<\/p>

\u00a0<\/h4>

Outline of Arthur Ross Architecture Gallery \/ Columbia GSAPP<\/h4>

March 30, 2018 \u2013 June 16, 2018<\/strong><\/p>

https:\/\/www.arch.columbia.edu\/exhibitions\/70-arakawa-and-madeline-gins-eternal-gradient<\/a><\/p>

The exhibition Arakawa and Madeline Gins: Eternal Gradient<\/em> traces the emergence of architecture as a wellspring of creativity and theoretical exploration for the artist Arakawa (1936-2010) and poet and philosopher Madeline Gins (1941-2014).<\/p>

In the early 1960s, Arakawa and Madeline Gins began a remarkably original and prolific collaboration that spanned nearly five decades and encompassed painting, installations, poetry, literature, architecture, urbanism, philosophy, and scientific research. Complementing their independent artistic and literary practices, Arakawa and Gins’ creative partnership launched with visual, semiotic, and tactile experiments that questioned the limits and possibilities of human perception and consciousness. During the 1980s\u2014a critical juncture in their careers\u2014this line of inquiry became increasingly spatial as Arakawa and Gins together developed a series of speculative architectural projects that sought to challenge the bodily and psychological experience of users. Through these investigations, the artists began to articulate their concept of reversible destiny<\/em>, arguing for the transformative capacity of architecture to empower humans to resist their own deaths.<\/p><\/div>

The exhibition examines this pivotal exploratory period through a stunning array of original drawings\u2014many exhibited for the first time\u2014as well as archival material and writings that illuminate the working methods and wide-ranging research interests of Arakawa and Gins. It uncovers a little-known body of visionary work that anticipated the artists\u2019 subsequent commitment to architecture and their realization of various \u201csites of reversible destiny,\u201d including Ubiquitous Site-Nagi\u2019s Ryoanji (1994, Okayama, Japan); Yoro Park (1995, Gifu, Japan); Reversible Destiny Lofts Mitaka (2005, Tokyo, Japan); and Bioscleave House (2008, East Hampton, New York).<\/p>

Arakawa and Madeline Gins: Eternal Gradient<\/em> features over 40 hand drawings, an architectural model, and archival material including ephemera, research materials, poetry, manuscripts, photographs, slides, and other items drawn from the Estate of Madeline Gins and the Reversible Destiny Foundation.<\/p>

The exhibition Arakawa and Madeline Gins: Eternal Gradient<\/em> is organized by Irene Sunwoo, Director of Exhibitions and Tiffany Lambert, Assistant Director of Exhibitions<\/p>

Exhibition Design: Norman Kelley (Carrie Norman & Thomas Kelley)<\/p>

Graphic Design: Eline Mul<\/p><\/div><\/div><\/div><\/div>

Related Programs<\/strong><\/p>

Conference: Encounters with Arakawa and Madeline Gins<\/i><\/h4>

Date: March 30, 1:00-6:00pm<\/p>