Press release
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april 05, 2022 - Galleria Milano
Shūsaku Arakawa The color of the mind
Opening: Monday, 21st of March 2022
Opening period: from Tuesday the 22nd of March to the 30th of April 2022
Gallery opening hours: from Tuesday to Saturday from 10.00 to 13.30 and from 15.00 to 19.00
Galleria #milano is pleased to hold the Shūsaku Arakawa’s exhibition, a Japanese artist, architect and a key figure of the international Conceptual art scene, whose work focuses on mental mechanisms and on decoding the world throughout philosophical categories.
The exhibition is based on the philological rediscovery research that the Galleria #milano is pursuing on some artists, with whom it has previously worked with, including #enzomari and #bettydanon. Arakawa had two solo shows in 1983 and 2005, the latter with #madelinegins.
Arakawa’s path develops between Japan and mostly the United States. Born in 1936 at Nagoya, he moved to Tokyo to study in the Art Faculty and here he joined the neo-dada movement. He immediately embraced an anti-artistic painting and began to work on diagrammatic elements that he would later develop. In 1961, he left Japan and set off for New York where he met #marcelduchamp who would become his mentor and introduce him to the lively art scene, he then would meet and spend time with John Cage, Jasper Johns and Robert Rauschenberg. The following year, in 1962, he met his future coworker and life partner #madelinegins and, in the meantime, he developed a language made of words, signs, shadows, lines, simple morphemes and color gradations. At first, silhouettes and everyday objects predominate the frames but soon they become more and more "spatial constructions that could be defined as ‘hyper-cubic’ or tetradimensional" (Gillo Dorfles).
At the Galleria #milano exhibition, there will be canvases, papers and graphics from the Sixties and early Seventies, in which the artist investigates the relationship between space and time and that he synthesizes as the philosophy of emptiness, or blank. Around this same time, he publishes the first edition (in German) of The Mechanism of Meaning (1971), a fundamental volume created with Gins to fulfill his main goal that is to understand the "mechanism of meaning" with an interpretative approach rather than analytical. His large canvases that are never homogeneous, are full of "focal points", accumulations of arrows, tubes, rotating elements, letters and words as mistake, that symbolize the short-circuit of signification in which the human being is stuck. The artist uses frequently the bottomless element, a sort of quadrangular pyramid that appears as a mysterious, subverted and suspended object in the white canvas. #italocalvino, who appreciated his art and discussed it with the artist in various meetings between Paris and New York describes his works as: "spots of blank or non-picture spots that interrupt the picture and give the impressions that the form and the meaning of everything else float around these gaps of existence". According to Calvino Arakawa's painting, that is purely intellectual, brings out "the color of the mind" and that’s why this is also the title of the exhibition. "The color of the mind is a color that we can’t see because there is always some other color that overlaps our gaze. [...] The mind cannot have any other color than the color of Arakawa's paintings", said Calvino.
During the exhibition also his two films will be screened: Why Not (A Serenade of Eschatological Ecology), 1970 and For Example (A Critique of Never), 1971, the latter in the Italian version with the voice over of Vincenzo Agnetti.
For this exhibition the Galleria #milano published a catalogue in collaboration with Kunstverein Publishing #milano and with an introductory text by Bianca Trevisan.
Shusaku Arakawa (Nagoya, 1936 - Manhattan, 2010) has exhibited in many galleries, museums, and institutions, including the Museum of Modern Art, Tokyo in 1958, MoMA, New York in 1966, the Japanese Pavilion of the XXXV Venice Biennale in 1970, the Neue National Galerie, Berlin in 1972, the Städtische Kunsthalle, Düsseldorf in 1977, the Solomon R. Guggenheim Museum, New York in 1997, and the Gagosian Gallery, New York in 2017. The PAC –Padiglione d'Arte Contemporanea of Milan dedicated a solo exhibition to him in 1984. Galleria #milano has exhibited his work in several group shows (in 1984, 1987, 1998) and in two solo shows in 1983 and 2005.
Galleria Milano
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02 Untitled 1964ca photo@Roberto Marossi
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04 The S.A Equation Recognized 1996 - 2006 1962 photo@Roberto Marossi
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01 Next to the last 1967 71 photo@Roberto Marossi
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05 Ignore the compass 1964 65 photo@Roberto Marossi
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03 Leonardo's Chronology 1967 photo@Roberto Marossi
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