Derriere Le Miroir 223 Mars 1977 Shusaku Arakawa D. L. M DLM French Aimé Maeght
Item History & Price
| Reference Number: Avaluer:7675093 | Subject: Art & Photography |
| Topic: Architecture | Language: French |
| Binding: Softcover, Wraps | Original/Facsimile: Original |
| Year Printed: 1977 |
Paris: Maeght Editeur, Issue 223, Mars (March) 1977. Softcover, in wraps. 11 x 15 inches (28 x 38 cm). Illustrated throughout, including double-page lithographed plate.n°223 Arakawa', ISBN 2-85587-029-1
Shusaku Arakawa (荒川 修作 Arakawa Shūsaku, July 6, 1936 – May 18, 2010) was a Japanese artist and architect. He had a personal and artistic partnership with writer and artist Madeline Gins that spanned more than four decades.
Shusaku Arakawa, who spoke of himself as a...n "eternal outsider" and "abstractionist of the distant future, " first studied mathematics and medicine at the University of Tokyo, and art at the Musashino Art University. He was a member of Tokyo's Neo-Dadaism Organizers, a precursor to The Neo-Dada movement. Arakawa's early works were first displayed in the infamous Yomiuri Independent Exhibition, a watershed event for postwar Japanese avant-garde art.
Arakawa arrived in New York in 1961 with fourteen dollars in his pocket and a telephone number for Marcel Duchamp, whom he phoned from the airport and with whom he eventually formed a close friendship. He started using diagrams within his paintings as philosophical propositions. Jean-Francois Lyotard said of Arakawa's work that it "makes us think through the eyes, " and Hans-Georg Gadamer described it as transforming "the usual constancies of orientation into a strange, enticing game—a game of continually thinking out." Quoting Paul Celan, Gadamer also wrote of the work: "There are songs to sing beyond the human." Charles Bernstein and Susan Bee observe, "Arakawa deals with the visual field as discourse, modal systems that constitute the world rather than being constituted by it."[4] Arthur Danto found Arakawa to be "the most philosophical of contemporary artists." For his part, Arakawa declared: "Painting is only an exercise, never more than that."
The Mechanism of MeaningBeginning in 1963, he collaborated with fellow artist, architect and poet Madeline Gins on the research project The Mechanism of Meaning which was then completed by 1973. This research project and the architectural projects that stem from it, both built and unbuilt ones, formed the basis of the 1997 Arakawa + Gins: Reversible Destiny exhibition at the Guggenheim Museum SoHo. (The accompanying comprehensive book of the same title remains the most comprehensive collection of their work, incorporating the whole of the Arakawa/Gins book, The Mechanism of Meaning.)
The panels appear as a constellation of views concerning the nature of meaning that made be characterized in broad stroke as "holistic" or as entailments of a holistic view concerning meaning. To date, two editions of The Mechanism of Meaning have been made and many of the panels incorporate collaged elements.
Reversible Destiny FoundationArakawa and Madeline Gins are co-founders of the Reversible Destiny Foundation, an organization dedicated to the use of architecture to extend the human lifespan. They have co-authored books, including Reversible Destiny, which is the catalogue of their Guggenheim exhibition, Architectural Body (University of Alabama Press, 2002) and Making Dying Illegal (New York: Roof Books, 2006), and have designed and built residences and parks, including the Reversible Destiny Lofts, Bioscleave House, and the Site of Reversible Destiny – Yoro.
In October 1945 the French art dealer Aimé Maeght opens his art gallery at 13 Rue de Téhéran in Paris. His beginning coincides with the end of Second World War and the return of a number of exiled artists back to France.
The magazine was created in October 1946 (n°1) and published without interruption until 1982 (n°253). Its original articles and illustrations (mainly original color lithographs by the gallery artists) were famous at the time.
The magazine covered only the artists exhibited by Maeght gallery either through personal or group exhibitions. Among them are (in alphabetical order):[4] Henri-Georges Adam, Pierre Alechinsky, Bacon, Jean Bazaine, Georges Braque, Pol Bury, Alexander Calder, Marc Chagall, Roger Chastel, Eduardo Chillida, Alberto Giacometti, Vassily Kandinsky, Ellsworth Kelly, Fernand Léger, Lindner, Henri Matisse, Joan Miró, Jacques Monory, Pablo Palazuelo, Paul Rebeyrolle, Jean-Paul Riopelle, Saul Steinberg, Pierre Tal-Coat, Antoni Tapies, Raoul Ubac, Bram van Velde.
Among the authors publishing essays and poems are (in alphabetical order):[5] Guillaume Apollinaire, Marcel Arland, André Balthazar [fr], Yves Bonnefoy, André du Bouchet, André Breton, Joan Brossa, Jean Cassou, René Char, Pierre Descargues [fr], Jacques Dupin, Georges Duthuit, Frank Elgar [fr], Claude Esteban, Charles Estienne, André Frénaud [fr], Stanislas Fumet [fr], Jean Grenier, Marcel Jouhandeau, Jacques Kober [fr], Michel Leiris, Georges Limbour, Henri Maldiney [fr], Jean Paulhan, Gaëtan Picon, Francis Ponge, Jacques Prévert, Raymond Queneau, Pierre Reverdy, Michel Seuphor, Jean Tardieu, Lionello Venturi, Pierre Volboudt, Christian Zervos.
Following the death of Aimé Maeght in September 1981, the Derrière le Miroir n°250 was designed as a tribute to the work of Aimé Maeght and his wife Marguerite (who had died before him in 1977). This special 112-pages issue was named "Hommage à Aimé et Marguerite Maeght" and was intended to be the last one. As it summarises all contents of the previous issues, it was finalised only in August 1982. In the meantime, n° 251 to 253 (the very last number) were published respectively in February, May and June 1982.
Shusaku Arakawa (荒川 修作 Arakawa Shūsaku, July 6, 1936 – May 18, 2010) was a Japanese artist and architect. He had a personal and artistic partnership with writer and artist Madeline Gins that spanned more than four decades.
Shusaku Arakawa, who spoke of himself as a...n "eternal outsider" and "abstractionist of the distant future, " first studied mathematics and medicine at the University of Tokyo, and art at the Musashino Art University. He was a member of Tokyo's Neo-Dadaism Organizers, a precursor to The Neo-Dada movement. Arakawa's early works were first displayed in the infamous Yomiuri Independent Exhibition, a watershed event for postwar Japanese avant-garde art.
Arakawa arrived in New York in 1961 with fourteen dollars in his pocket and a telephone number for Marcel Duchamp, whom he phoned from the airport and with whom he eventually formed a close friendship. He started using diagrams within his paintings as philosophical propositions. Jean-Francois Lyotard said of Arakawa's work that it "makes us think through the eyes, " and Hans-Georg Gadamer described it as transforming "the usual constancies of orientation into a strange, enticing game—a game of continually thinking out." Quoting Paul Celan, Gadamer also wrote of the work: "There are songs to sing beyond the human." Charles Bernstein and Susan Bee observe, "Arakawa deals with the visual field as discourse, modal systems that constitute the world rather than being constituted by it."[4] Arthur Danto found Arakawa to be "the most philosophical of contemporary artists." For his part, Arakawa declared: "Painting is only an exercise, never more than that."
The Mechanism of MeaningBeginning in 1963, he collaborated with fellow artist, architect and poet Madeline Gins on the research project The Mechanism of Meaning which was then completed by 1973. This research project and the architectural projects that stem from it, both built and unbuilt ones, formed the basis of the 1997 Arakawa + Gins: Reversible Destiny exhibition at the Guggenheim Museum SoHo. (The accompanying comprehensive book of the same title remains the most comprehensive collection of their work, incorporating the whole of the Arakawa/Gins book, The Mechanism of Meaning.)
The panels appear as a constellation of views concerning the nature of meaning that made be characterized in broad stroke as "holistic" or as entailments of a holistic view concerning meaning. To date, two editions of The Mechanism of Meaning have been made and many of the panels incorporate collaged elements.
Reversible Destiny FoundationArakawa and Madeline Gins are co-founders of the Reversible Destiny Foundation, an organization dedicated to the use of architecture to extend the human lifespan. They have co-authored books, including Reversible Destiny, which is the catalogue of their Guggenheim exhibition, Architectural Body (University of Alabama Press, 2002) and Making Dying Illegal (New York: Roof Books, 2006), and have designed and built residences and parks, including the Reversible Destiny Lofts, Bioscleave House, and the Site of Reversible Destiny – Yoro.
In October 1945 the French art dealer Aimé Maeght opens his art gallery at 13 Rue de Téhéran in Paris. His beginning coincides with the end of Second World War and the return of a number of exiled artists back to France.
The magazine was created in October 1946 (n°1) and published without interruption until 1982 (n°253). Its original articles and illustrations (mainly original color lithographs by the gallery artists) were famous at the time.
The magazine covered only the artists exhibited by Maeght gallery either through personal or group exhibitions. Among them are (in alphabetical order):[4] Henri-Georges Adam, Pierre Alechinsky, Bacon, Jean Bazaine, Georges Braque, Pol Bury, Alexander Calder, Marc Chagall, Roger Chastel, Eduardo Chillida, Alberto Giacometti, Vassily Kandinsky, Ellsworth Kelly, Fernand Léger, Lindner, Henri Matisse, Joan Miró, Jacques Monory, Pablo Palazuelo, Paul Rebeyrolle, Jean-Paul Riopelle, Saul Steinberg, Pierre Tal-Coat, Antoni Tapies, Raoul Ubac, Bram van Velde.
Among the authors publishing essays and poems are (in alphabetical order):[5] Guillaume Apollinaire, Marcel Arland, André Balthazar [fr], Yves Bonnefoy, André du Bouchet, André Breton, Joan Brossa, Jean Cassou, René Char, Pierre Descargues [fr], Jacques Dupin, Georges Duthuit, Frank Elgar [fr], Claude Esteban, Charles Estienne, André Frénaud [fr], Stanislas Fumet [fr], Jean Grenier, Marcel Jouhandeau, Jacques Kober [fr], Michel Leiris, Georges Limbour, Henri Maldiney [fr], Jean Paulhan, Gaëtan Picon, Francis Ponge, Jacques Prévert, Raymond Queneau, Pierre Reverdy, Michel Seuphor, Jean Tardieu, Lionello Venturi, Pierre Volboudt, Christian Zervos.
Following the death of Aimé Maeght in September 1981, the Derrière le Miroir n°250 was designed as a tribute to the work of Aimé Maeght and his wife Marguerite (who had died before him in 1977). This special 112-pages issue was named "Hommage à Aimé et Marguerite Maeght" and was intended to be the last one. As it summarises all contents of the previous issues, it was finalised only in August 1982. In the meantime, n° 251 to 253 (the very last number) were published respectively in February, May and June 1982.
