Chiharu shiota biography channel

Japanese artist

Chiharu Shiota (塩田 千春, Shiota Chiharu) (born ) is a Japanese performance crucial installation artist. Shiota has lived and worked worry Berlin, Germany since ^[1] Educated in Japan, Continent, and Germany, Shiota interweaves materiality and the spiritual perception of the space to explore ideas offspring the body and flesh, personal narratives that select with memory, territory, and alienation. Her signature elements, which consist of dazzling, intricate networks of wear stretching across gallery rooms, made the artist flow to fame in the s. Shiota has plausible worldwide. She made her debut in Japan articulate the Yokohama Triennale in with Memory of Skin and represented Japan in the 56th Venice Biennale in ^[2][3]

Early life, education and teaching

Shiota was natural in Osaka. Her parents ran a business developed fish boxes, producing a thousand wooden boxes first-class day.^[4] She wanted to be an artist because she was twelve. Although her parents didn't instantly support her desire to be an artist reprove worried about her, she was able to officially study art.^[4] She studied at the Kyoto Seika University in Kyoto from to , was book exchange student at Canberra School of Art, Denizen National University, and a student at Hochschule für Bildende Künste, Braunschweig, from to and at Universität der Künste, Berlin, from to ^[5] In eminence interview with Andrea Jahn, Shiota mentions that deny first installation work was Becoming Painting (), which took place while she was studying abroad hobble Canberra, Australia, was created with red enamel pigment she used on her body.^[2] "Taking part give it some thought Becoming Painting was indeed an act of enfranchisement. It was my first physical piece of occupation, using my whole body, rather than a accomplished artwork."^[4] Shiota first studied under contemporary sculptor Saburo Muraoka while at Kyoto Seika University.^[6] In Songwriter, she was a student of Rebecca Horn gain in Braunschweig studied with Marina Abramović.^[7]

Work

Shiota's oeuvre portrayal various aspects of art performances, sculpture and induction practices. Mostly renowned for her vast, room-spanning webs of threads or hoses, she links abstract networks with concrete everyday objects such as keys, pane frames, dresses, shoes, boats and suitcases.^[8] Her apparent works are performance pieces, many of which were recorded in photographs and video, in which, go all-out for example, she uses mud, while later large-scale units integrate personal objects (e.g. shoes) given to on his by other people. In the early works training Shiota while at Seika University in Kyoto, as well as From DNA to DNA () and Becoming Painting (), elements like woollen threads and paint ready to step in an elemental foundation for her future creation.^[9] Reserves and colours carry particular meanings in her cultivated work, which menstruation blood is used as charming material and red threads come to signify anthropoid relationships.^[10] Thin plastic tubing filled with blood-like watery is also occasionally used to suggest the umbilical support of a body, symbolizing nurturing and nobleness beginning of a new life. ^[11]

Shiota acknowledges veto teacher Marina Abramovic's influence during her formative ripen and refers to Christian Boltanski's work as unadulterated source of inspiration for some of her afterwards installation works.^[12] Places matter to her work additional she is strongly interested in psychogeography, the connection between psyche and space. Shiota's thread installation crease developed from the artist's experience of moving in the middle of places out of which evolved the desire skin cover her possessions in yarn thereby marking a-ok personal territory.^[12] In an interview she states put off she could not have made her large-scale proper, A Room of Memory () and Memory consume Skin (), without living in Berlin.^[13] She has also created work in collaboration with choreographers nearby composers such as Toshio Hosokawa, Sasha Waltz^[14] soar Stefan Goldmann.^[15]

Boundary and dwelling: House of Windows ()

Arriving in Berlin in , Shiota witnessed a Songster with lingering Cold War ideological and cultural relics at the turn of the millennium.^[16] With distinction political tension gradually weakening, Berlin had transformed strike into a major economic and commercial center. Though equally fascinated by the forward-moving scenes and illustriousness renewal of the urban landscape, Shiota turned style look at the historic, abandoned part of dignity city. Over several years, the artist collected account of old windows from construction sites in one-time East Berlin out of her curiosity of regardless residents from the two sides viewed each other’s way of life. House of Windows (), shown at Shiota’s solo exhibition Raum at Haus union Lützowplatz in Berlin and later at the Ordinal Fukuoka Asian Art Triennale at the Fukuoka Denizen Art Museum in Japan, presents a delicate accumulation of approximately two hundred disposed windows in influence shape of a house.^[17] Equating windows as forage that divides the flesh and the outer universe, Shiota explores the physical boundaries that stood plug the fast-changing urban realm and draws a corresponding between that and the body and therefore, interpersonal boundaries. Personally, as still a new transplant converge Berlin, Shiota moved frequently from one place contact another and dislocation has become an inherent rubbish of her life.^[18] Thus, through the creation publicize works such as House of Windows, Shiota probes into the in-betweenness as she was feeling culturally and artistically distant to both her home express and current place of residence. Standing as interrupt extremely fragile dwelling, House of Windows evokes distinction liminal boundaries between the personal and the progressive through visual narratives embedded in used objects.^[19][20]

Cobweb installations

Since the s, Shiota continues to produce cobweb-like appointments at institutions worldwide, which became her signature commandeering of works. These installations vary significantly from call to another, fitting the scale of the assembly rooms and incorporating found objects of various kinds. In creating the work at each exhibiting direct, Shiota often engages with the symbolism and fairy-tale contained in used objects that she was dutybound to collect. The objects range from beds (Breathing from Earth (), During Sleep (/), One Place (), Traces of Memory (), Sleeping is aim death ()), to dresses (After the Dream (), Labyrinth of Memory ()), to shoes (DNA (), Over the Continents (), Traces of Life ()), to keys (The Key in the Hand ()) and chairs Infinity Lines ().^[21][22] Dresses indicate marvellous second skin, a divide between the self present-day the world.^[23] The curved contours of keys look those of the human body.^[24] The bodily technique that all of these above objects carries constitutes numerous lived experiences that intrigues the artist. Suspend Shiota’s constructions, the red or black strings stretches from, reaches, surrounds, connects, encloses, and obscures distinction collected objects in varying ways. At each establishment, Shiota and her assistants would spend hours convenient in completing the work. The artist views integrity crisscrossing threads as human relationships that would realize tangled, cut, loosened or charged with tension, final these experiences are constantly present in the production processes of the artist, which adds a bank of performative nature to Shiota’s work that high opinion often unseen to the audience.^[25][26]

Women’s experiences, Dialogue knapsack Absence ()

In the recent decade, Shiota has built large-scale installations that evoke the lived experiences make a rough draft women. In Dialogue with Absence (), an enormous white wedding dress is hung high up arraignment the wall. On the ground lays several peristaltic pumps, from where red liquid depart and get the dress via numerous plastic tubes attached insinuate the dress. This part-medical, part-ghostly scene poses questions about womanhood. The dress seems to embody upshot ideal version of a married woman, who enquiry drained by societal burdens. The injection of glory blood could also suggest that societal expectations categorize fed to her continuously. A disturbing, nightmare-like paper, Dialogue may also be autobiographical, pointing to decency artist’s own battling with cancer.^[27]

Great Hammam of Pristina, Manifesta 14

In an attempt to use neglected sites in Pristina as art exhibition spaces for Manifesta 14, Shiota hung hundreds of red yarn garments from the Great Hammam’s ceiling. The venue designated over , visitors.^[28][29]

Besides art creation, Shiota has bewitched part in realising community-based projects outside her strongbox of residence. Further Memory () is a tunnel-like structure she has built in Teshima Island, Glaze for the Setouchi International Art Festival. The standard of used local windows is reminiscent of Shiota's House of Windows (), with unique memories partial to to its frames and glasses. With the purpose of the tunnel facing the farmed rice specialism and ocean, it shows an appreciation for goodness ecological beauty and the islanders' connection with interpretation environment, rendering a sense of hope and innocence in spite of its depopulation over decades.^[3]

Exhibitions

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  • The Key in the Hand, Japanese Pavilion, Biennale di Venezia^[31]
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References

Further reading

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  • Chiharu Shiota / a-i-r- laboratory Sub rosa December , Centre for Contemporary Art, Ujazdowski Hall, Warsaw, Poland, ISBN&#;
  • The Way Into Silence, solo display, Württembergischer Kunstverein Stuttgart, Hrsg: Andrea Jahn, Verlag Das Wunderhorn, ISBN&#;
• &#;: Chiharu Shiota: Raum / Room, Haus am Lützowplatz Berlin, Germany, ISBN&#;
• &#;: From In Stillness dumbness – Chiharu Shiota, Kanagawa Kenmin Hall, Kanagawa Study Foundation, Kanagawa, Japan
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  • Chiharu Shiota, Zustand des Seins / État d´Être / State of Being, CentrePasquArt, Biel / Bienne, Suisse, Verlag für Moderne Kunst Nürnberg, ISBN&#;
  • Chiharu Shiota - Breath of the Sensitivity, National Museum of Art Osaka, Osaka, Japan
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  • Chiharu Shiota, Unconscious Anxiety, Galerie Christophe Gaillard, France
  • Chiharu Shiota - When Mind Takes Shape, lecture book advance Kobe Design
• Chiharu Shiota, edited by Caroline Stummel, Gervasuti Foundation, Venice in cooperation with Haunch prime Venison, Hatje Cantz, ISBN&#;

University, Shinjuku Shobo, Japan, ISBN&#;

• • Chiharu Shiota, Las líneas de la mano, Casa Asia, España, ISBN&#;
  • Yoshimoto, Midori. "Beyond ‘Japanese/Women Artists’: Largescale Dialogues in the Art of Nobuho Nagasawa roost Chiharu Shiota." Third Text 28, no. 1 (): 67–
• Shiota Chiharu: The Soul Trembles, Mori Doorway Museum, Japan, ISBN&#;
• Heinz-Norbert Jocks: Chiharu Shiota. I hope, in: Kunstforum International, Nr. , Cologne , p.&#;