In the Gifu Prefecture of Japan is Yoro Park, a site of reversible destiny by architecture/poetry duo Arakawa & Gins. Appropriately, they provide clear ‘directions for use’:

· Instead of being fearful of losing your balance, look forward to it (as a desirable re-ordering of the landing sites, formerly known as the senses).

· Try to draw the sky down into the bowl of the field.

· Always question where you are in relation to visible and invisible chains of islands known as Japan.

· Vary the rate at which you proceed.

· Associate each of the extreme forms your body is forced to assume in traversing the Field with both a nearby and a distant form.

· If accidentally thrown completely off-balance, try to note the number, and also the type and the placement, of the landing sites essential to reconstituting a world.

· Frequently swing around to look behind you.

· Minimize the number of focal areas (perceptual landing sites) at any given moment.

· If an area or a landing site catches your eye and attracts your interest to the same degree as the area through which you are actually moving, take it up on the spot, pursuing it as best you can as a parallel zone of activity.

· Make use of the Exactitude Ridge to register each measured sequence of events that makes up the distance.

· Within the Zone of the Clearest Confusion, always try to be more body and less person.

· To make a decision or to become more subtle or more daring (or both) in regard to a previous decision, use the Mono no Aware Transformer.

· Inside the Geographical Ghost, renege on all geographically related pledges of allegiance.

· Wander through the ruin known as the Destiny House or the Landing Site Depot as though you were an extra-terrestrial.

· Move in slow measured steps through the Cleaving Hall and, with each arm at a distinctly different height, hold both arms out in front of you as sleepwalkers purportedly do.

· Close your eyes when moving through and around the Trajectory Membrane Gate.

· In and about the Kinesthetic Pass, repeat every action two or three times, once in slow motion.

· Walk backwards in and near the Imaging Navel.

Images courtesy Figure Ground

As possibly the most contrived and controlled built environments possible, airports are rather surreal places. Like disorienting black holes where time and space cease to exist in the same way, they are sites of heightened emotions (the drama of goodbyes and reunions, the anticipation of new journeys, the panic of missed flights) played out alongside intense boredom. Perfect places, I say, for transparent floating balloon people.

From this week until November 3rd, Terminals 1 and 2 at Haneda Airport will be filled with digital public art projects, including human balloons, LED stars and video projections. Here’s to other international airports taking cue and playing host to more experimental art in the future. See more here (Japanese only).

Tatzu Nishi’s homes are finished! The instillations I wrote about several weeks ago are about to open to the public, and the artist will be discussing his work in a free public talk at the AGNSW on October 2 from 1-2.30pm. Roslyn Oxley9 Gallery is also holding a solo show for him from October 3–24 so we can all get totally Tatzud out.

Photos by Amelia Groom

Why bring art to the home when you can bring home to the art? Two new homes are currently being constructed outside the Art Gallery of NSW, swallowing up Gilbert Bayes’ monumental bronze equestrian statues. When they open up at the start of next month visitors will be able to enter via a ramp into a cosy bedroom or living room – perfectly reconstructed with windows, carpets and furnishings – with the larger-than-life hoarse and rider structures protruding out of the floor or bed.

The project is the latest from Japanese artist Tatzu Nishi who has been building domestic spaces around public monuments, artworks and streetlights for over a decade. A temporary woman’s boudoir enclosing the statue on the roof of the Hermès flagship store in Tokyo; a studio apartment atop a 14th-century cathedral in Basel, incorporating its bronze angel as the centrepiece of the living room table, and a hotel room built around Picasso’s iconic Femme au fichu bleu within the gallery space are a few examples of his past work. By incorporating familiar, pre-existing structures and images into temporary, intimate domains he literally recontextualises them, forcing us to reconsider the public/private divide.

The War and peace and in between constructions open on October 2 at the AGNSW to coincide with a major retrospective being held there of John Kaldor’s ambitious public art commissions, which started 40 years ago when he invited Christo and Jeanne-Claude to come to Australia and wrap Little Bay in canvas. Since then Kaldor has instigated many seminal public art projects, including Gilbert & George’s Singing Sculpture in 1973, Jeff Koons’ Puppy in 1995, Bill Viola’s video instillations in a Redfern church last year, and now the wonderful Tatzu Nishi.