Interesting was entering the Japan pavilion, at the 56th. International Exhibition of Arts of the Venice Biennial and be welcomed by The Key in the Hand installation, from the artist Shiharu Shiota, after being visited other pavilions and artwork, almost all requiring of our look the conjecture and profound concepts. The vibrant color of the Japanese pavilion, the poetics of the work, wether by the obsession or the fascination, provoked me, left me without thinking at first.
The keys, which are the starting point in the installation conpcept, were at first, only interspersed objects to the mesh, red wires woven in various directions and united into one connection under two rustic wooden boats. When I observed the keys, effectively, the result of donations of the whole world, awakened from the trance, of those minutes that I was not thinking…
The Japan Pavilion stands out for the range of its concept and not by the work be “beautiful and free effect”, as defined by the jornalist Sheila Leimer. “The keys connects us with others and the boats transports people and time”, explains Shiharu Shiota. So simple and able to lift us to meditation, to the act of staying with the mind free of thoughts. This is the motto.
Perhaps by the anguish of facing the social problems of “All the World’s Future”, prepared by the Nigerian curator Okwui Enwezor, the Japanese installation of the artist welcomed me, teased me. It presented the contemporary with vibration and red, which refers to something that is intense, beautiful or painful. The rustic wooden boats mean that the direction can be marked by simplicity.
The red of Shiharu Shiota reminded me the red of Tomie Ohtake (1913-2015) on screens I will never forget. His work in red vibrates and causes as much as the Shiota’s red. An obsession or fascination?