2015 Residency Application Open

Following three successful residency projects to highlight the issues of the post Tsunami and Nuclear Fallout situation in Japan, we are excited to announce yet another residency project in London UK.

The residency will take place in 2015

at Husk Gallery, Limehouse with support of Mophe Arts, Art Centre Group and Art Action UK.org.

This year, our call for residency is extended to include not only the artists from any media and practices, but also the curators who are engaged with the Post 311 situation on the ground.

Please see application details on

http://artaction-uk-japan.jimdo.com/

What is the micro-political significance of Frieze Art Fair’s ‘Nuclear Soup’?

This year at Frieze, two artists called the ‘United Brothers’ invited
gallery goers to eat soup made with daikon radishes grown in the
Fukushima area of Japan. The piece was entitled ‘Does This Soup
Taste Ambivalent?’ Although the radishes were ‘potentially radioactive’,
they had been approved by the Japanese Farmers’ Association,
following a food safety test for radioactive cesium. The piece was
sensationalized in the media, with headlines such as ‘Would you eat
Fukushima soup?’ and ‘Nuclear soup’: Japanese duo to serve
Fukushima broth at London art fair’.

The Independent reported that the artist duo ‘believe that food
“represents hospitality, sharing and humanity” so, by partaking in the soup,
the public can show solidarity with the victims of the Fukushima disaster.’
At first glance it is encouraging that London gallery-goers are keen to show
solidarity towards the victims of the Fukushima disaster. But we need to
ask ourselves, what does this gesture of solidarity mean in a micro-political
context in Japan?

Although for many, the gesture of eating the soup was poignant, for others
it became a humorous dare. As reported in The Independent,
Robert Dingle, Contemporary Art Society curator, was asked if he was
worried about consuming the soup. He quipped; “I trust Frieze when
they tell me it is safe…I will keep you posted if I start to develop any
extra limbs.” For many gallery goers,the free soup was happily consumed
within the context of Frieze, and that was that…on to the next stand.

Food safety in Japan is a daily concern for many Japanese people. It has
complex and troubling implication for farmers and residents in the
Fukushima area and beyond. Director of Frieze London,
Jo Stella-Sawicka, stated; ‘The region was devastated by the nuclear
disaster, but people still live there and grow and eat vegetables, which are
authorized by the Japan Farmers’ Union.’ So what does the gesture of
partaking in ‘Does This Soup Taste Ambivalent?’ signify to those who are
trying to rebuild their lives following the disaster?

For Japanese audiences, there are two vital concerns that do not seem to have been
fully addressed either at Frieze or in the British media:

First, that the soup highlights questions of uncertainty and ambivalence. The food has been through a testing process far more rigorous that EU food testing, but audiences still question the safety of the produce. In a recent article in TBS news the chairman of the Fukushima people’s group in the UK expressed concerns that the artists had not provided clear information about food safety in Fukushima. But the artwork is not intending to provide a clear answer to the question ‘is it safe to eat?’ It asks us to think about what it means to ask this question.

Blogger P.T.A.-Part Time Art says of the United Brothers; ‘I feel many people misunderstand their concept….[The artists] don’t say we should eat [the soup], they just want to visualize this ambivalent situation in Japan and make the world know about this problem.’

Artist Ei Arakawa, part of ‘United Brothers’ explains further; ‘I would say 1/5 of the people—the visitors to Frieze— are in a hurry to get along to the next thing. They hear about free soup. They just take a cup of soup. I don’t think they read the information on the wall. I wanted people to read about the risks related to the soup, and to ignite a discussion about the situation.’

The second issue is perhaps less apparent to UK audiences, but directly relates to farmers in East Japan. In an article entitled ‘The Role of Japanese Cooperatives Post Fukushima’ (published earlier this year on foodbank.com) Nicola Wong explains that the Japanese government have strict standards when it comes to radioactive contamination, but that Japanese farmers are relying on cooperatives to provide financial support for the safety tests demanded by the government. Farmers in Japan are in a complex and precarious political situation, and many people feel that this ultimately requires legislative support from the government to ensure a stable agricultural industry.

The message from Frieze is that international consumers will on occasion, and as a conceptual gesture, support the food production system as it stands. Although this shows general support for Japanese farmers, for many the gesture was too flippant and did not really engage with the crucial issues at stake.

Kaori Homma, Japanese artist and director of Art Action UK, believes that by consuming the soup, gallery goers are indirectly endorsing a subtle shift in a cultural consensus. This consensus; a general unquestioning support for the government’s promotion of Fukushima products, for example through school lunches; reinforces the continued need for farmers to rely on cooperatives rather than direct governmental support. The often-heard expression “Show your support by eating” (tabete ouen – 食べて応援), epitomizes this pervasive, but perhaps simplistic, response to the complexity of the situation. Many people feel the need for more detailed information about the produce they are eating; for greater transparency regarding food safety. It is also important to note that some areas of Fukushima were affected more than others, and even the reference to ‘Fukushima produce’ is a generalization that impacts many farmers from the area.

In the context of Frieze, even though audiences were keen to try the soup, and despite the goodwill shown by their gestures of solidarity, many visitors and media representatives did not sufficiently engage with the nuances of the artwork. As a result the artwork seems to have reinforced doubt about the safety of the food from the region, but has not explicitly outlined the need for greater transparency. The overall reaction of UK audiences has done little to reassure Fukushima farmers.

Nevertheless, the artwork itself is strong and compelling. Arakawa states, ‘I wanted to see the power relation within the certain contexts and try to figure out how we can interrupt, or resist, or somehow transform it.’ The United Brothers are not politicians. Their role is to provoke discourses about food safety in Japan and to highlight the lack of transparency regarding food safety information. However, it is important to bear in mind that as the audience, our responses have collective consequences and we should carefully consider the implications of our actions, even within the art fair environment.

written by: Jessica Holtaway

After the tsunami; linking the past, present and future in post-Fukushima Japan

Art Action UK would like to present Komori Haruka and Seo Natsumi’s new film installation, ‘under the wave, on the ground’; a film about memory, recovery and hope following the 2011 earthquake, tsunami and nuclear fallout in Japan.

The film follows Abe Hiromi as she returns to the site of her family home in Rikuzentakata City, Iwate Prefecture; a place devastated by the earthquake and tsunami in 2011. For Abe, remembrance is vital in coming to terms with the disaster and for rebuilding the future. In the film, she tenderly lays out her parents’ clothes in the warmth of the sunlight, in a gesture of honour and commemoration. For Komori and Seo, small acts such as this one promise a beautiful future.

‘Under the wave, on the ground’ has a subtle political undercurrent. It asks us to question the apparent separation of social concerns from political concerns following the disaster. In Rikuzentakata, the government are spending vast amounts of money removing a section of a nearby mountain in order to redistribute the rubble and raise the level of the land. At first glance, this courageous and diligent effort reassures us that the city has a promising future. However, the reality is much more complicated.

Soon after the disaster, those able to attend a local meeting formed a consensus regarding the investment of aid. Even though the tsunami was 17 meters high, it was decided that the ground was to be raised by 12 meters. As time has passed local opinion has become more divided between those who have the power and ability to make decisions regarding the development of the city, and those with less influence, who nevertheless have questions about the redevelopment programme. The media does not cover local issues such as how aid money is to be spent and how the history of the city is documented. For many residents and survivors, the "positive" actions of the government feel brutal- the ‘top-down’ political process turns a blind eye and deaf ear to the people of the city, who want to link the past to the future, rather than bury it.

Komori and Seo moved to the Tohoku region in 2011 and to Rikuzentakata in 2012 and have been living, working and documenting the lives and feelings of local citizens. As artists, they are forming a new collective memory in the hope that people in the future will think differently about the way in which disasters such as these can be managed politically. For many local residents, Komori and Seo are mediators and witnesses in the rebuilding process; they are the eyes, ears and voice of those who feel overlooked by the government. They are not trying to make a judgement or to point a finger at individuals in political power, but they want people to ask more questions and to be more receptive to the concerns of the residents.

Part of the documenting process is to share these feelings with global audiences. Seo explains that although their feelings are discounted when it comes to local politics, many residents appreciate the fact that people from other places can hear their voices and empathise. Above all, the artists want to help those recovering from the tsunami and nuclear fallout to keep their memories alive and sustain a feeling of hope for Japan’s future.

(Text by Jessica Holtaway)

We would like to invite you to see ‘under the wave, on the ground’ at St Paul’s Church, Deptford this weekend; Sat Oct 4^th and Sunday October 5^th, 2pm-4.30pm.

Please tweet your responses to the exhibition to @artactionuk2014 and follow us on Facebook; Art Action UK

Komori and Seo are back for DeptfordX Festival

After a very successful residency project, Kmori & Seo have been invited back to London by Deptford X Festival. Komori & Seo, a young duo who won our 2014 Art Action Residency Award, returned to Rikuzen Takada where they have been working amongst victims of the 2011 Tsunami and Nuclear fallout. Their experience during the 2014 Art Action Residency has given them a renewed determination to continue with their method of research and have been archiving the forgotten aspect of the local population's stories.

They will be showcasing their new work, "Moving Mountain" which focuses on the paradox causued by the enormous effort to re-build the area affected by the Tsunami.

http://www.deptfordx.org/

Film Installation

St. Paul's Church Crypt, Deptford

27th and 28th Sept and

4th and 5th October

stpaulsdeptford.co.uk

Artist Talk and Discussion event

with

Kaori Homma and Natsumi Seo

Deptford Lounge

30th September

7-9pm

he Utopian Promise of Post-Tohoku (2)

Komori and Seo 's work is featured on the article
by Adrian Favel
http://adrianfavell.tumblr.com

Komori and Seo at the Lanch of Deptford X 2014

Komori and Seo's installation event at Deptford X
"Calling from the Waves" received a large number of visitors and very enthusiastic reception from the audience.
As a result, Komori and Seo are invited to the Deptford Festival in autumn along with Bob and Roberta Smith and Kaori Homma. Under the theme proposed by Bob and Roberta Smith, " Value of Art", Art Action UK will present Komori and Seo's new installation which working title is " Moving the mountain".

Komori and Seo are here to bring the voices from affected areas

As a young emerging artist duo, Komori + Seo has been working in Rikuzen Takata in Tohoku area hardest hit by 2011 Tsunami. Over 2000 People lost their lives in this provincial city with population of 15,000. The entire town structure was devastated by 70 feet high Tsunami, while Fukushima Nuclear Fallout which followed the Tsunami still continues to threaten the livelihood of the people.

photo by Takehiko Murakami

The artists duo moved to this city immediately after the disaster, and now live and work amongst the victims which gives them a very special access to the local people’s raw perspectives. Komori and Seo’s works are accumulation of documentation and the reflections from this rare vantage point.

2014 Residency Artists Duo Arrived

Our 2014 Residency Artists Duo Komori and Seo arrived to UK from Tohoku, Rikuzen Takada, one of the area hardest hit by 2011 Tsunami in Japan. Nearly 2000 people lost lives in this city with population of 15,000, and entire town structure was devastated. Fukushima Nuclear Fallout Disaster which followed this physical devastation still continues to damage the local fishing industry.
Komori and Seo moved to the area immediately after the disaster and now live and work amongst the victims of the Disaster while documenting and archiving the local people's voices while also keeping reflective log on their own observations in their Blog.

During this residency we are hoping to share Komori and Seo's rare perspectives through Art Exhibitions, Talk Events, Open Studio and workshop sessions.
Please see detail on
http://www.artactionuk.org/

2014 Residency Artists announced

This year's Residency artists Komori Haruka and Seo Natsumi were selected after rigorous selection process. As a young emerging artist duo, Komori + Seo has been working in Tohoku area hardest hit by 2011 Tsunami. Their works are accumulation of documentation and the reflections on the situations they are encountering as they live and work amongst the victims of disaster in the area. We are hoping that their account will bring new insight to the issues we no longer hear about, since the media coverage over the dramatic pictures of Tsunami has receded.

Komori + Seo’s residency will take place May- June 2014,

at

Husk Gallery and Project space, 649-651 Commercial Road, Limehouse, London, E14 7LW

Supported by

Morphe Arts, http://www.morphearts.org/

Trust Greenbelt, http://www.greenbelt.org.uk/about/trust-greenbelt/

ACG, http://www.artscentregroup.org.uk/

In association with

Zeitgeist Arts Project; http://www.zeitgeistartsprojects.com/index.html

Project for Fukushima Scree

You may recall the horror witnessed in 2011 of the Japanese tsunami and nuclear fallout disaster seen all over the TV and worldwide web. 3 years after, the media has since moved on. However, though largely ignored by the press, the Fukushima situation is far from over, affecting many areas in Japan as well as the Pacific. Some researchers have gone as far as to speculate that the situation in Fukushima may even be more severe than that of Chernobyl. And yet, we must ask, if the situation is so grave, why do we simply not hear about it?

We are holding an event to profile the issue and how we as artists can open up much needed discourse through Art Action UK- Project for Fukushima :UK Residency 2014.

27th February, 6:30-8:30pm. Café Eterno, 34 Neal Street, Covent Garden, London, WC2H 9PS.

The event includes the screening of footage from Respite Residency 2012/2013, a live link with Japan, art exhibition, raffle, performance, drinks and nibbles.

Art Action UK- Project for Fukushima is now in its third year. In 2011, soon after the disaster, Dr. MOURI (a prominent art critic and social commentator based in Tokyo), Kaori Homma(artist) and Meryl Doney(curator/director of Wall Space) established an artist led initiative, Art Action to invite emerging artists linked with Fukushima to carry out residency projects in UK. So far Art Action UK, with support from ACG and Morphe Arts, has delivered two residencies accompanying various events including exhibitions, performances, film screenings, panel discussions joined by the Turner Prize nominee The Otolith Group. Art Action UK- for Fukushima triggered a good volume of twitter traffic among the cultural sector in Japan,and our events were covered by media such as Kyodo News, York Times and NHK radio.

We believe that as individual artists we can question the given and as a collective we can break the silence. We hope you can come and join us.