简介：一部很少见的实验影片来自日本前卫设计大师荒川修作。 WhyNot:ASerenadeofEschatologicalEcology(1970) (USA,1970-71,16mmtransferredtovideo,B&W,1:50) Firstly,WHYNOTevokesthetitleofready-mademorequ'assistéof1921,WhynotsneezeRroseSélavy,abirdcagecontainingpainted"sugarlumps"marble,athermometerandabonecuttlefish,withoneenteredthebottomofthecage,whichisreflectedinamirrorplacedinthemedia-workreveals,accordingtoGloriaMoure,"recreationironicdesiretotouchandtheeffortofperception".ThefilmArakawa&MadelineGinsoffersmanyothersimilaritieswiththeworkofDuchamp.Itdepictsayoungwomanwhofornearlytwohours,carryoutexplorationofincongruousobjectsinvestedwithalibidinal:atable,adoorknob,anorange,atoiletbowl,asofa,culminatinginasceneofmasturbationwithabicyclewheel. ShusakuARAKAWA--includingcollaborationswithMadelineGINSBorninNagoyain1936.Arakawaexhibitshisworkatthe10thYomiuriIndependentExhibition,andcontinuestodosountilthe13thexhibition,andattractstheattentionofShuzoTakiguchi.In1960,ArakawaformsNeoDadaismOrganizerswithYoshioShinoharaandMasunobuYoshimura(exhibiteduntilthe3rdexhibit).AfterholdingaprivateexhibitionAnotherGraveyard(MuramatsuGallery,Tokyo),Arakawamovesawayfromneodadaism.Aroundthistime,heattractsattentionforhisso-called\"casketworks\"thatinvolveplacingacushioninsideawoodenboxandcoveringitwithcement.InDecember1961,ArakawatravelstoNewYork,wherehehaslivedeversince.In1963,ArakawaandMadelineGinsbeing\"TheMechanismofMeaning\"series,diagrampaintingsthatcontainentangledelementsofdifferentdimensionssuchaswordsandsymbols.In1967,hepurchasesabuildingintheWestHoustondistricttoshootfilms,andhehaslivedhereeversince.Thefilmsmadehereinclude\"WhyNot(ASerenadeofEschatologicalEcology)\"(1969)and\"ForExample(ACritiqueofNever)\"(1971).In1970,ArakawaexhibitshisworkintheJapanesePavilionattheXXXVBiennaledeVenezia.In1972,the\"MeaningofMechanism\"exhibitionishighlypraisedasittourstheGerman-speakingregion.In1973,ArakawabeginsanarchitecturalexperimentinCroton,asuburbofNewYorkCity.In1977,heentershisworkinDocumentaVI.In1977and1978,hebecomesmoreprominentaroundtheworldashetoursEuropewithlargeprivateexhibitions.ArakawaisawardedtheChevalierdesArtsdesLettersbytheFrenchgovernmentin1986,theBelgianCritics\'Prizein1988,andtheCCA(CollegeArtAssociation)Awardin1997.Arakawa\'scollaborationswithMadelineGinsinclude\"MechanismusderBedeutung\"(TheMechanismofMeaning)(firstGermanversion,1971),\"Pournepassmourir\"(ToNottoDie)(firstFrenchversion,1987),and\"Architecture:SitesofReversibleDestiny\"(firstEnglishversion,1994).Arakawa\'sprivateexhibitionsinJapaninclude\"TheMeaningofMechanism\"(1988,SeibuMuseumofArtandTakanawaMuseumofArt),\"TheExhibitionofShusakuArakawa-ToAtsushiMiyakawa\"(1990,TokoMuseumofContemporaryArt),and\"ConstructingthePerceiver-ArakawaExperimentalWorks\"(1991-92,TheNationalMuseumofModernArt,Tokyo,TheNationalMuseumofModernArt,Kyoto,andMatsuzakayaArtMuseum)thatfundamentallychangestheconventionalviewofartbydemandingtheaudienceforphysicalaction.Arakawa\'spermanentexhibitsandarchitecturalprojectsinclude\"Room\'Sun\"-UbiquitousSite-Nagi\'sRyoanji-Heart\"thatwasestablishedatKunstsammlungNordrhein-WestfaleninDusseldorfandNagiMuseumofContemporaryArtinOkayamaPrefecturein1994and\"ThemeParkoftheMind,SiteofReversibleDestiny\"thatwasopenedinYoroPark,Yoro,GifuPrefecturein1995.Then,\"ReversibleDestinyOffice-Yoro\"wascompletedin1997.Theseworksevolvedintourbanarchitecturalprojects.Theresultswerehighlyacclaimedwhentheywerepresentedatthe\"ReversibleDestiny-Arakawa/Gins\"exhibitionattheGuggenheimMuseumSoHoinNewYorkin1997.In1996,Arakawawasawardedthe28thJapanArtGrandPrix(sponsoredbyShinchoFoundation)for\"UbiquitousSite-Nagi\'sRyoanji-Heart\"and\"SiteofReversibleDestiny.\"Note:\"UbiquitousSite-Nagi\'sRyoanji-Heart\"wasrenamed\"Room\'Sun\'-UbiquitousSite-Nagi\'sRyoanji-ArchitecturalBody\"bytheartistinearly1997.…