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Tokyo Landscape 2020


Contemporary Art Factory(現代美術製作所), Kyoto and Art Center Ongoing(アートセンターオンゴーイング), Tokyo, Japan, 2018

Kinetic installation with mixed media

In 2013, Shinzo Abe, Prime Minister of Japan, clearly told the world that “Fukushima is under control” in order to win the right to host the Tokyo Olympics in 2020. The Tohoku Earthquake destroyed the Fukushima Daiichi nuclear power plant in 2011 - a disaster on many levels, and one from which the country has never recovered. Having recently withdrawn their support for those in and around Fukushima, the government maintains that the area has made significant progress and is now safe. Unchallenged by the populous, their decisions to, for example, remove radiation detectors, place the population in significant danger. This work is a form of political cartoon; a depiction of the grotesque government-sanctioned policy that falsifies information endangering the lives of its people. 

My exhibition ‘Tokyo Landscape 2020’ articulates visually the corruption surrounding these events through an installation comprising sculptural, kinetic and electrical elements. Five Olympic rings made from coloured electric cables hang at eye level. The cables are connected to a lighting rail, whichcarries an electric current to the work. A series of miniatures occupy the surface of the table. Cables lead to four collapsed cubes, representing the reactor buildings of the Fukushima Daiichi Plant. Figures cast in plaster - their willfulignorance depicted through the Japanese pictorial ‘see no evil, hear no evil, speak no evil’ proverb – are damaged, broken and falling from the work’s surface, representing the hardship and disease that the Japanese people incurred from the disaster. The damage to the environment is represented through reminders of the chemical elements that comprise our ecosystem. A water pool contains a pump, which,through electrolysis, hydrogenates two carbon rods positioned under the water. Black fluid leaks from a kettle, polluting the pool, as a reminder of the radioactive waste continuing to leak into the Pacific Ocean. A digital countdown indicates the number of days remaining until the opening ceremony of Tokyo 2020, and finally, the movement of a spotlight causes the Olympic rings to appear to rise, like the hoisting of a national flag. 



この作品は「東京オリンピック2020」の開催を優先するために、国民の安全を軽視して、情報を不誠実に操作するグロテスクな日本社会の縮図である。「Tokyo Landscape 2020」はそれぞれの歪んだ情景を、彫刻やキネティクな要素や電気的な要素によるインスタレーションで図式化した。目線の高さに吊り下げられた五輪のロゴは電気ケーブルで作られ、そのケーブル自体がインスタレーション全体に電気を供給する。テーブルの上にはミニチュアの模型要素が配置され、壊れた立方体群が、福島第一原発の建屋を示している。それらの状況に無反応なマジョリティが、インスタレーションを取り囲む見ざる聞かざる言わざるのポーズをとる石膏像の群衆で表現され、壊れたり、テーブルから落ちている石膏像は、原発事故の影響による病気をほうふつとさせる。プールの中の2本の炭素棒が水素爆発した原子炉同様に電気分解で水素を発生させる。ポンプで供給され続けるヤカンからもれる黒い水は、太平洋に流れ続ける放射能による汚染水を象徴する。カウントダウンクロックは東京オリンピックのオープニングまでの残りの日数をカウントダウンしている。上下に動く照明による、壁に投影されたオリンピックロゴの影が、国旗掲揚をほうふつさせる。

Special lighting  : Taira Ichikawa

Photo 1 : Takaaki Soga

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