In one of the foundational texts of Taoism, Chinese philosopher Zhuang Zhou recalls a dream in which he was a butterfly, soaring through the sky with no recollection of his human form. Upon waking, though, he finds himself firmly in a bipedal body, prompting an important question: is he a butterfly dreaming he’s Zhuang Zhou or a man dreaming he’s a butterfly?
This ancient story of transformation and the thin line between states of mind informs a dazzling new installation by Chiharu Shiota (previously). “Metamorphosis of Consciousness” suspends glimmering lights and faint butterfly wings above an iron-framed twin bed topped with a white blanket and pillow. Rejecting the strict separation between body and mind, Shiota references her belief in the spirit’s ability to endure long after one’s final breath. “While each time we slip into sleep, it is a rehearsal for death—a journey beyond the body,” she says.
Exemplary of the artist’s interest in memory and knowledge, “Metamorphosis of Consciousness” is just one of the immersive works in the monumental exhibition Silent Emptiness at Red Brick Art Museum in Beijing.
On view through August 31, the show revolves around Shiota’s ongoing explorations into the “presence in absence,” this time extending such inquiries into ideas of emptiness as it relates to Eastern philosophy and enlightenment.
Included in the exhibtion is an antique Tibetan Buddhist doorway that anchors “Gateway to Silence,” an explosive installation that entwines the elaborately carved wood structure in a dense, criss-crossing labyrinth of string. Red thread, one of the artist’s favored materials, symbolizes relationships. And in this case, it’s an invitation to introspection and finding an awareness of the present moment.
Metaphorically interlacing art, memory, and faith, Shiota very literally visualizes the intextricable web in which we’re all bound, regardless of geography or era. Pieces like “Echoes of Time” and “Rooted Memories” incorporate materials like soil and large stones, presenting the passage of time as cyclical and the past as always shaping the present.
Born in Osaka, the artist has lived in Berlin for much of her life, and Silent Emptiness also tethers her roots to more global experiences. Shiota likened her understanding of herself to the way salt molecules appear as crystals only after water evaporates. “I was not visible as an individual in Japan,” she says. “Whereas I did not know who I was, what I wanted to do, and what was necessary in the water, I feel that I became an individual and crystal, and understood those things for the first time by coming to Germany.”
Another example of finding presence in absence, Shiota’s migration and experience of discovery provides an important touchstone for her thinking and practice. She adds, “Absence does not signify disappearance but rather an integration into a vaster universe, re-entering the flow of time and forming new connections with all things.” (via designboom)
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