Shusaku Arakawa

Shusaku Arakawa was born in Nagoya on July 6, 1936. His family ran an udon shop. Arakawa spoke of himself as an "eternal outsider" and "abstractionist of the future", and was interested in a variety of disciplines including art, mathematics, and medicine. The convergence of his interests in multiple, seemingly disparate subjects originated during childhood. One of Arakawa's neighbors was a doctor who offered the young Arakawa professional advice on proper training for a career in medicine. According to Arakawa, the doctor's wife, an artist, advised him to "draw" which led him to refine his skills in both drawing and painting.

Arakawa briefly attended Musashino Art University to study art.

Arakawa's early works were first displayed in the infamous Yomiuri Indépendant Exhibition in 1958, a watershed event for postwar Japanese avant-garde art that departed from the strictness of traditional Japanese art exhibitions in favor of a looser structure with an absence of awards and a deciding jury. During this exhibition, Arakawa produced a socio-political installation that criticized the 1945 atomic bombings at Hiroshima and Nagasaki; coffin-like boxes contained lumps of cement with fur and hair attached to recall the violence inflicted upon Japanese citizens by the American military. The utilization of objets – everyday, consumer products transformed into assemblages – permitted Arakawa to convey meaning through items not traditionally associated with the fine arts.

In 1960, at the height of the massive Anpo protests against the U.S.-Japan Security Treaty, Arakawa became involved with the avant-garde art collective Neo-Dada Organizers, along with Genpei Akasegawa, Ushio Shinohara, Shō Kazakura, Kinpei Masuzawa, and group founder Masanobu Yoshimura. The group engaged in a series of bizarre "events" and "happenings" that blended visual and performance art, which the art critic Yoshiaki Tōno labeled “anti-art” (han-geijutsu) and the critic Hariu Ichirō deemed "savagely meaningless".

One of Arakawa's stunts as a member of Neo-Dada was a work titled Site Made by the Viewer performed at Nihon University, in which Arakawa invited 400 spectators to an auditorium but refused to allow them inside. When Yoshimura and five other attendees, at Arakawa's urging, climbed a ladder that led up to the auditorium's balcony, Arakawa removed the ladder, trapping them on the balcony for over one hour while he silently crouched in the darkness. Arakawa explained he did not create an artwork but "manipulated" his audience by turning them into "actors".

Arakawa was eventually expelled from the Neo-Dada Organizers collective because he was deemed "too much of an aesthete", and for chaotically disrupting group events.

Arakawa and Madeline Gins co-founded the Reversible Destiny Foundation in 2010, 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-Mitaka (In Memory of Helen Keller), Bioscleave House (Lifespan Extending Villa), and the Site of Reversible Destiny-Yoro.

Designed in 1995, "The Site of Reversible Destiny - Yoro Park" was conceived as an "experience park" to reorient and transform visitors' understanding of their bodily relationship to the physical world. Flat, planar surface were removed entirely from the park, and instead Arakawa and Gins placed great emphasis on hilly, bulging surfaces that complicated how one walked around the park; spectators were encouraged to interact with the site as if they were toddlers learning to walk for the first time.

Bioslceave House (Lifespan Extending Villa) (2000–2008) in East Hampton, New York encapsulates the philosophies Arakawa and Gins shared toward human mortality. The house's form is characterized by its asymmetrical, undulating appearance whose interior and exterior walls are each painted in over four dozen shades of vibrant hues. Ceilings and entranceways extend across varying directions and heights, either along straightened or curved edges. Similarly, windows and light switches are strewn along the walls at inconsistent heights. The floors are designed from hardened soil with rounded bumps atop their surfaces that slope at both slight and steep inclines; freestanding poles are included in multiple rooms to assist occupants to maintain their physical balance. Arakawa and Gins firmly believed it was integral for domestic environments to be constructed in layouts that rendered residents with a sense of instability and discomfort. They argued physical passivity and comfort allows the human body to deteriorate and the solution to reverse one's mortality is to reside in a home that encourages continual bodily movement and reorientation, which is evident in the Bioscleave House's lack of smooth floors and high/low placement of windows.

"The Reversible Destiny Lofts - Mitaka (In Memory of Helen Keller)" were completed in Tokyo's western suburbs in 2005. Similar to Bioscleave, the lofts employed the philosophy of "procedural architecture" whereby the human body is kept in a continual state of physical interaction with their surrounding environment to prevent age-related decline. In terms of formal arrangement, each of the lofts are assembled together in cubical, spherical, and tubular shapes that each contain spatially disparate layouts for their respective residences. While Bioscleave was more focused on residential functions, the Mitaka Lofts are regularly utilized in a multipurpose fashion: residences, educational facilities, and cultural centers. Sections of the site are often leased for short and long-term usage, and it has even been a featured site on the popular vacation rental platform airbnb.