{"id":7806,"date":"2019-02-05T20:13:15","date_gmt":"2019-02-05T11:13:15","guid":{"rendered":"http:\/\/arakawagins.noor.jp\/2020agtokyo?p=7806"},"modified":"2022-01-25T22:01:04","modified_gmt":"2022-01-25T13:01:04","slug":"arakawa-diagrams-for-the-imagination","status":"publish","type":"post","link":"https:\/\/www.architectural-body.com\/?p=7806&lang=en","title":{"rendered":"Arakawa: Diagrams for the Imagination"},"content":{"rendered":"\t\t<div data-elementor-type=\"wp-post\" data-elementor-id=\"7806\" class=\"elementor elementor-7806 elementor-5120\" data-elementor-settings=\"[]\">\n\t\t\t\t\t\t<div class=\"elementor-inner\">\n\t\t\t\t\t\t\t<div class=\"elementor-section-wrap\">\n\t\t\t\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-83f9510 elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"83f9510\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t\t\t<div class=\"elementor-row\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-06588d0\" data-id=\"06588d0\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-column-wrap elementor-element-populated\">\n\t\t\t\t\t\t\t<div class=\"elementor-widget-wrap\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-eab6e25 elementor-widget elementor-widget-image\" data-id=\"eab6e25\" data-element_type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t<div class=\"elementor-image\">\n\t\t\t\t\t\t\t\t\t<figure class=\"wp-caption\">\n\t\t\t\t\t\t\t\t\t\t<img width=\"560\" height=\"410\" src=\"https:\/\/www.architectural-body.com\/wp-content\/uploads\/84RifwCuesHz_2340x1316-560x410.jpg\" class=\"attachment-large size-large\" alt=\"\" loading=\"lazy\" srcset=\"https:\/\/www.architectural-body.com\/wp-content\/uploads\/84RifwCuesHz_2340x1316-560x410.jpg 560w, https:\/\/www.architectural-body.com\/wp-content\/uploads\/84RifwCuesHz_2340x1316-300x220.jpg 300w, https:\/\/www.architectural-body.com\/wp-content\/uploads\/84RifwCuesHz_2340x1316-420x308.jpg 420w, https:\/\/www.architectural-body.com\/wp-content\/uploads\/84RifwCuesHz_2340x1316.jpg 1794w\" sizes=\"(max-width: 560px) 100vw, 560px\" \/>\t\t\t\t\t\t\t\t\t\t\t<figcaption class=\"widget-image-caption wp-caption-text\">Arakawa, <i>That in Which No. 2<\/i>, 1974\u201375<br \/>Acrylic, graphite, and marker on canvas, 65 \u00d7 102 inches (165.1 \u00d7 259.1 cm)\u3000<br \/>\u00a9 2019 Estate of Madeline Gins. Reproduced with permission of the Estate of Madeline Gins<\/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<section class=\"elementor-section elementor-top-section elementor-element elementor-element-6f6807ff elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"6f6807ff\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t\t\t<div class=\"elementor-row\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-5356cde0\" data-id=\"5356cde0\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-column-wrap elementor-element-populated\">\n\t\t\t\t\t\t\t<div class=\"elementor-widget-wrap\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-1a94bbfb elementor-widget elementor-widget-text-editor\" data-id=\"1a94bbfb\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t<div class=\"elementor-text-editor elementor-clearfix\">\n\t\t\t\t\t<p>Gagosian Gallery will present an exhibition of works by Arakawa.<\/p><p>The exhibition will be on view from March 5 \u2013 April 13, 2019<\/p><p>Opening reception: Tuesday, March 5, 6\u20138pm<\/p><p><strong>Gagosian Gallery<\/strong><br \/>980 Madison Avenue<br \/>New York, ny 10075<br \/>Tel. +1 212 744 2313<br \/>newyork@gagosian.com<\/p><p>Hours: Monday\u2013Saturday 10\u20136<\/p><h4>About<\/h4><p><em>What I want to paint is the condition that precedes the moment in which the imagination goes to work and produces mental representations.<br \/>\u2014Arakawa<\/em><\/p><p>Gagosian is pleased to present Diagrams for the Imagination, an exhibition of works by Arakawa, made between 1965 and 1984.<\/p><p>Born in Japan in 1936, Arakawa was one of the founding members of the Japanese avant-garde collective Neo Dadaism Organizers, describing himself as an \u201ceternal outsider\u201d and an \u201cabstractionist of the distant future.\u201d In 1961, he moved from Tokyo to New York. By the mid-1960s, his work had taken a pivotal turn with the \u201cdiagram paintings,\u201d which combine words with highly schematic images suggestive of blueprints. He began exhibiting at Dwan Gallery in Los Angeles and New York, and was included in the now legendary 1967 exhibition Language to be looked at and\/ or things to be read. Over the decades that followed, Arakawa explored the workings of human consciousness, diagrammatic representation, and epistemology.<\/p><p>This exhibition examines the period during which Arakawa worked in two dimensions, using paint, ink, graphite, and assemblage on canvas and paper to demonstrate what critic Lawrence Alloway called \u201cthe logic of meaning, the texture of meaning.\u201d From the mid-1960s onward, Arakawa began to augment the simple topography of his diagrams with additional referents, sometimes engaging other sensory faculty or using prompts and instructions to make the viewing of painting into an active endeavor. In A Couple No. 2 (1966\u00ad\u201367), the bird\u2019s-eye view of a bedroom is mapped out: bed, table, pillow, head, foot, lamp. The image shows only the places where the corresponding physical elements would be, had \u201ca couple\u201d been literally depicted. In this way, the painting becomes a catalyst for the viewer to independently construct an image of a couple in the mind\u2019s eye, rather than receive its depiction directly from the painting.<\/p><p>Blank Lines or Topological Bathing (1980\u201381) comprises four canvases: a color chart; a vision test chart; and two patterned, off-white canvases, one of which is stenciled with the words \u201cTHE PERCEIVING OF ONESELF AS BLANK.\u201d Signs and diagrammatic shapes such as cylinders, arrows, and concentric circles mingle with words and phrases, abstract and semiological signals coming together on the canvas. Arakawa constructed these systems of words and signs to both highlight and investigate the mechanics of human perception and knowledge. Working often with Madeline Gins, his wife and collaborator, Arakawa turned his attention primarily to architecture after 1990, and, in 2010, he and Gins founded the Reversible Destiny Foundation. In his work, the image is often merely a stimulus, as the ultimate act of representation is displaced from the canvas, or object, to the imagination of the viewer, opening up a gap between the eye and the mind. As Arakawa has stated, \u201cUnderstanding is usually beside the point.\u201d<\/p><p>The exhibition will be accompanied by a fully illustrated catalogue, with an essay by Charles W. Haxthausen.<\/p><p><a href=\"https:\/\/gagosian.com\/exhibitions\/2019\/arakawa-diagrams-for-the-imagination\/\">Quoted from Official website<\/a><\/p><h4>Related Articles<\/h4><p>\u30fb<a href=\"https:\/\/www.dezeen.com\/2019\/03\/07\/shusaku-arakawa-diagrams-for-the-imagination-exhibition-gagosian-new-york\/\">dezeen: Diagrammatic paintings by Japanese architect Shusaku Arakawa go on show in New York<\/a><\/p><p>\u30fb<a href=\"http:\/\/www.artnews.com\/2019\/04\/08\/arakawa-beguiles-gagosian-new-york\/\">ARTNEWS: Arrows to Everywhere: Paintings by Arakawa Beguile at Gagosian in New York<\/a><\/p>\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":"<p>Arakawa, That in Which No. 2, 1974\u201375Acrylic, graphite, and marker on canvas, 65 \u00d7 102 inches (165.1 \u00d7 259.1 c [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":8175,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_s2mail":""},"categories":[107,82],"tags":[],"aioseo_notices":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v16.9 - 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