By Jean-Jacques Lecercle
Structure and Philosophy: New views at the paintings of Arakawa and Madeline Gins is a set of essays at the paintings of architect Arakawa and poet Madeline Gins and specifically their publication Architectural physique (2000). The essays process their innovative and impressive venture to layout 'an structure opposed to dying' from quite a few angles and disciplines together with aesthetics, structure, linguistics, philosophy. The papers retrace where of Architectural physique within the aesthetic panorama of paintings on the flip of the twenty first century and determine the utopian stance in their paintings.
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Extra info for Architecture and Philosophy: New Perspectives on the Work of Arakawa & Madeline Gins. (Architecture - Technology - Culture)
You open The Palm at the End of the Mind to find “An Ordinary Evening in New Haven” has drifted off into strange seas of thought even Wallace Stevens could not imagine. No longer do you read; rather, you “walk into a purposeful guess” (Arakawa and Gins 23). In his aspiration, overall, Kiesler envisions a domain in which Art itself becomes the environment; in other words, the work steps down from the pedestal where it was an illustration of some idea or some memory and expands to become a living space.
In fact, Kiesler mounted a series of small works by Paul Klee for Art of This Century Gallery on a rotary device, with variable lighting, so the very act of viewing the paintings took on the character of an adventure. Kiesler was inclined to think of art works in cluster formations. As early as 1918 he had arranged constellations of his own paintings to work together as an ensemble in spatial supplication. He called 42 Jed Rasula them “galaxies,” and he was meticulous in specifying the proximity between one painting and another, because “the intervals between the units of a galaxy are as important as the units themselves, particularly since these intervals flow in and connect with the surrounding area” (Bogner 23).
In short, “He told one story only to gain access to another” (Pamuk 258). This is a veritable architectural truism as well; one gains access to rooms by way of other rooms, and for every room the means of coming in or going out are the same. Architectural space is thereby endowed with a haunting—the somewhat archaic English noun haunt refers to a domain—or the sense that, though I have not been here before, I recognize the place. Such recognition is infused with the sense of cohabitation, the uncanny supplement that has often 38 Jed Rasula proven so enticing to fabulists, from Herman Melville’s whimsical tale “I and My Chimney” to Henry James’s “The Jolly Corner,” and the grotesque multi-purposes spaces that abound in Kafka’s The Trial.