Willkommen auf der Seite der "Textinitiative Fukushima"
Die Seiten der Textinitiative Fukushima werden derzeit von der Japanologie der Goethe-Universität betrieben. Gegenwärtiges Anliegen von TIF ist die zeitgeschichtliche Dokumentation. Das Forum dient nun in erster Linie als Archiv für Informationen zu 3/11 sowie allgemein zur Geschichte des Atomaren. Die Suchfunktion ermöglicht Recherchen zu Stichworten, Inhalten und Akteuren.
| Kunst und Atomares: Ben Shahns "Lucky Dragon-Serie" (1960) | 04.04.2025 |
"In a sense, this work represents the 3rd nuclear attack on the Japanese. Social commentator and artist Ben Shahn depicts Aikichi Kuboyama in a powerful black and white study. Kuboyama was a crew member on a Japanese fishing vessel who died of radiation poisoning following the 1954 H-Bomb test on Bikini Atoll. Along with his crew of 22, they inadvertently wandered into the above-ground nuclear weapon test zone and got covered in the white dust." Links: https://www.artsy.net/artwork/ben-shahn-kuboyama-saga-of-the-lucky-dragon-he-died-from-h-bomb-testing-at-bikini-island
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| Neue Graphic Novel zu Fukushima (Februar 2025) | 31.03.2025 |
"Das Buch beginnt mit der Riesenwelle, die über eine Stadt hereinbricht, mit jetzt noch ungeahnten Folgen. Dort ist es eine Jahrhundertkatastrophe - hier in Deutschland, genauer gesagt in Berlin, etwa 10.000 Kilometer entfernt, beginnt dieser 11. März wie jeder andere Tag. Es ist Freitag und die Hauptfigur Lea wird an diesem Tag 18 Jahre alt. Lea hat blasse Erinnerungen an ihre Mutter, wächst beim Großvater in Kreuzberg auf. Sie jobbt in einer Notunterkunft für Obdachlose - wie auch die Autorin Bea Davies." Link: https://www.ndr.de/kultur/buch/tipps/Graphic-Novel-Super-GAU (11. März 2025) |
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| Thema 80 Jahre Hiroshima: Tamiki Hara Poesie-Denkmal | 30.03.2025 |
"In den schwarzen Granit ist ein Gedichtentwurf von Tamiki selbst eingemeißelt: 'In den Stein eines fernen Tages gehauen, dessen Schatten in den Sand fällt und zerbröckelt, die Illusion einer einzelnen Blume inmitten von Himmel und Erde'.“ Link: https://dive-hiroshima.com/de/explore/4256/
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| Rückblick Kunst nach Fukushima: "Japanese Art after Fukushima through the Prism of Festivals" | 16.03.2025 |
Links: https://journals.openedition.org/critiquedart/27197?lang=en |
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| Kunst nach Fukushima: "Contested Sites, Contested Bodies: Post-3.11 Collaborations, Agency, and Metabolic Ecologies in Japanese Art" von Theresa Deichert | 14.03.2025 |
"This article argues that works of art critically engaging with the radioactive contamination post-3.11 require attention to artistic collaborations beyond humans, such as with the environment, geological forces, radioactivity, animals, or inanimate objects such as foodstuffs. The two artworks selected to advocate this case are Flow in Red (2014) by Kyun-Chome and Does This Soup Taste Ambivalent? (2014) by United Brothers. Kyun-Chome’s artwork included potentially contaminated rice from Fukushima and its neighboring prefecture Ibaraki, while United Brothers worked together with vegetables grown in Fukushima that may be radioactive. The infiltration of radioactive nuclides into human food chains impacted the ecological networks, bringing to the forefront the interconnected and also interdependent relationships between humans and their environment. In analyzing these two artworks, this article maintains that post-3.11 artists engaging with the disaster have mobilized radioactivity, or food items penetrated by radioactivity, in this sense collaborating with non-human actors. In this context, the key point of this article is to outline the artists’ human-based collaborations, but also to show how analysis of the artworks can be greatly enriched by exploring non-human collaborations. In this endeavor, the aim is not to deny that human collaborations exist, but to show how they are enhanced and superseded by non-human collaborations that truly drive the message of the works forward." (Theresa Deichert, 2020) Links: https://heiup.uni-heidelberg.de/journals/transcultural/article/view/24246/17994 https://www.academia.edu/127701334/_To_See_Once_More_the_Stars_Fukushima |
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"In Super-Gau beleuchtet Bea Davies die verheerenden Ereignisse der Fukushima-Katastrophe 2011 auf einzigartige Weise. Mit kunstvollen Zeichnungen und einer raffiniert verwobenen Erzählung wird die Geschichte von acht Menschen in Japan und Berlin erzählt, deren Leben auf überraschende Weise durch die Ereignisse am 11. März 2011 verbunden sind."
"Musician Yoshihide Otomo, who lived in Fukushima during his teenage years, undertook something which was very different from the Reborn Art Festival’s strategy. After the 2011 disaster, Yoshihide Otomo started the Fukushima! festival which is held every 15th of August, the traditional day of the dead or O-bon matsuri. Yoshihide Otomo always opens the festival with a traditional O-bon dance, in order to integrate the event into popular tradition. Creating an occasion for people to come to Fukushima is one of the core aims of the festival. Ever since the nuclear incident, the region is either avoided altogether or at the heart of a macabre and voyeuristic kind of tourism, sometimes even organised by tour operators. The Fukushima! festival tries to avoid these pitfalls by giving good reasons to come to Fukushima." (Clélia Zernik, 2017)|
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