Thursday, January 20, 2005

Then again, it's possible to choose not to die.
In the symmetrical environment of the 70-foot long cylindrical Architectural Body entitled Ubiquitous Site (1992-1994), now an essential part of the Nagi Museum of Contemporary Art in Japan, the central notion, once again, is the possibility for the proprioperceptive self to supplant identity (189) as the visitor who enters the symmetrically organized cylindrical building--having lost its balance and traditional bearings--is invited to cast the little that remains of its identity as a person, outside itself, thereby coordinating with an architectural body that seems to exist both within and outside the bounds of subjectivity (since for Arakawa and Gins the body of a visitor cannot be separated from the space occupied by it). Such a notion becomes directed towards the blurring of boundaries between traditional divisions between past, present and future, as well as between self and community ('Beginning,' 'past,' 'future,' 'I,' 'me,' and 'you,' the artists write, are all words that have no place in this process. They are superfluous [189]) and, ultimately, life and death as the avowed desire of the artists is to escape the mortal condition [LINEBREAK interview]).


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