Through fictional lights and butterflies, Chiharo Shiota is existence and absence
In one of the basic texts of the angle, the Chinese philosopher Choung Chu He remembers the dream in which he was a butterfly, rising through the sky without remembering its human form. When waking up, he finds himself firmly in a two -bilateral body, which prompted an important question: Is it a dream of a butterfly that he is Chuang Chu or a man dreaming of being a butterfly?
This ancient story of transformation and the thin line between the minds of the mind teach a new impressive composition by Chiharo Shioa (previously). “Consciousness turns” hangs shiny lights and weak butterfly wings over a double bed with an iron frame covered with a blanket and white pillow. When rejecting the strict separation between the body and the mind, Sihata refers to her belief in the ability of the soul to endure for a long time after the breath of the individual. “While every time we escape from sleep, it is a rehearsal of death – a journey outside the body,” she says.
An example of the artist’s interest in memory and knowledge, “the transformation of consciousness” is just one of the overwhelming works in the huge exhibition The silent void in Red Brick Art Museum In Beijing.
On a show until August 31, the exhibition revolves around the continuous Sihata exploration to “existence in absence”, and this time such inquiries extend to ideas from the void in terms of its connection with oriental philosophy and enlightenment.
The exhibition includes an ancient Tabti entrance that proves the “Gate of Silence”, which is an explosive installation that connects the structure of the carved wood in a perfect manner in a dense tangled maze of the chain. The red thread, one of the artist’s favorite materials, symbolizes relationships. In this case, it is an invitation to meditate and find awareness of the current moment.
SHIOOTA is a metaphorical craftsmanship of art, memory and faith in a metaphorical network with which we all adhere to, regardless of geography or times. Cutting such as “echoes of time” and “rooted memories” include materials such as soil and large stones, which represents the passage of time as a periodic and past as always in forming the present.
She was born in Osaka, the artist lived in Berlin in most of her life, and The silent void It also provokes its roots for more global experiences. Sheita Shiota understood her to herself the way the salt molecules appear as cables only after the water evaporates. “I was not visible as an individual in Japan,” she says. “While I did not know who I was, what I wanted to do, and what is necessary in the water, I feel that I became individual and crystal, and I understood those things for the first time by coming to Germany.”
Another example of finding existence in absence, provides Shiota migration and the experience of discovering an important stone for its thinking and practice. She adds: “The absence does not indicate the disappearance, but rather it is integration in a large world, and it restores the flow of time and the formation of new contacts with all things.” (via Design))
