Diagonale [Diagonal], 1992
Stone, screen print
2380 x 710 cm
Munich, Bayerstrasse 34, foyer
The existence of the thinking being in the universe: that, no less, is the theme chosen by Chihiro Shimotani (*1934 Sakurai, JP) as the basis for his conceptual art. Born in Japan, Shimotani's frequent visits to Germany and other European countries have given him a deep affection for different cultures. His quest for ways to translate into visual language the philosophical notions that relate to the transience of human existence revolves around a single constant, the written word. This he employs as the basis for transmitting his insight into the human condition. In the artwork simply titled "Diagonale" [Diagonal] (1992), Shimotani finds a new way to express the finite nature of the existence of the thinking being. Excerpts from daily papers from around the world are screen-printed onto the flat surface of the large split rocks running diagonally across the piece. As the viewer moves from the spot where a rock's printed surface is visible, there is a sense of news, out of date almost as soon as published, being swallowed by the rock. Using rocks as a symbol for permanence and daily papers ephemerality, Shimotani contrasts the finitude of human life with the constancy of nature. In not stating this openly but concealing it on the cut face of rocks, he creates a meditative artistic space that inspires in the viewer a conscious awareness of his own existence.
Diagonale [Diagonal], 1992
Stone, screen print
2380 x 710 cm
Diagonale [Diagonal], 1992
Stone, screen print
2380 x 710 cm
Diagonale [Diagonal], 1992
Stone, screen print
2380 x 710 cm
Diagonale [Diagonal], 1992
Stone, screen print
2380 x 710 cm
Diagonale [Diagonal], 1992
Stone, screen print
2380 x 710 cm
Images: (c) Chihiro Shimotani
Laterne I + II, 2004
Granite, light source
140 x 140 x 90 cm, 90 x 140 x 140 cm
Munich, Bayerstrasse 115
The existence of the thinking being in the universe: that, no less, is the theme chosen by Chihiro Shimotani (*1934 Sakurai, JP) as the basis for his conceptual art. Born in Japan, Shimotani's frequent visits to Germany and other European countries have given him a deep affection for different cultures. He seeks ways to translate into visual language the philosophical notions that relate to his underlying theme, meticulously choosing media that connect with what he wants to convey. Questions about transience are expressed by the evaporation of water and those about man's existence are expressed with clay imprinted with text. The written word is a constant employed by the artist as the basis for transmitting his insight into the human condition. In Laterne I and II [Lanterns I and II] (2004) however we witness none of these traditions: no text is imprinted on the material used and the stone is shaped into a form that is at odds with its intrinsic character. The individual elements appear to float one above the other, barely touching, like gently undulating sheets. The fragility of the sculptures is accentuated by the illumination that picks out the spaces in between. This work is a direct reference to an earlier piece by Shimotani that is executed in paper and has a very similar form. In "Keiner soll schlafen, (Turandot)" [None shall sleep (Turandot)] (2003), the artist alludes to Prince Calaf's famous aria Nessun dorma from Giacomo Puccini's Turandot. By recasting the concept in a different medium, Shimotani lends the work a permanence and durability without taking away any of its fragility and lightness.
Laterne I+II [Lanterns I and II], 2004
Granite, light source
140 x 140 x 90 cm, 90 x 140 x 140 cm
Laterne I+II [Lanterns I and II], 2004
Granite, light source
140 x 140 x 90 cm, 90 x 140 x 140 cm
Laterne I+II [Lanterns I and II], 2004
Granite, light source
140 x 140 x 90 cm, 90 x 140 x 140 cm
Laterne I+II [Lanterns I and II], 2004
Granite, light source
140 x 140 x 90 cm, 90 x 140 x 140 cm
