Exhibition

11•3 Point of No Return

28 Feb 2018 – 25 Apr 2018

Cost of entry

free

London, United Kingdom

Address

Travel Information

  • 4, 19, 30, 38, 43, 56, 73, 153, 205, 214, 274, 34 1394
  • Angel

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Exhibition Commemorates Seventh Anniversary Of East Japan Earthquake And Tsunami

About

Exhibition 
Howard Sooley, Kaori Homma, Shino Yanai,
Artist collective : Yoi Kawakubo, Pedro Inoue, Tita Salina,
Irwan Armett  and Paribartana Mohanty. 

Silent Auction 
Results Announcement 4:30 pm
postcard arts, drawings and art books by various artists and students
fundraising for residency program at Art Action UK 

EXHIBITION ARTISTS

Fukushima Mon Amour is a young artists collective consisting of, Yoi Kawakubo, Pedro Inoue, Tita Salina, Irwan Armett  and Paribartana Mohanty. Their video piece docu-ments their experience of a visit to the exclusion zone around crippled Fukushima Daiichi Nuclear Plant, in 2014. This film shows young artists in the area where residences were evacuated after the Nuclear Fallout, revealing the devastatingly emotive human desire to make things better, while highlighting the unmeasureable human cost, and the powerlessness of human effort, after such a disaster.  

Kaori Homma’s work deals with a notion of disaster closer to home through depicting the landscape around Derek Jarman’s Garden, in Kent. The images portray the ruins of the local fishing industry, but there are also echos of the images from the tsunami and earthquake which once filled the internet in 2011.The aesthetic appearance of Homma’s works conceals the violent process inflicted on the paper through the fire she uses to create her images, and which also resonates with the hidden darkness of our gaze.

Howard Sooley is a photographer known for his work with Derek Jarman on their seminal book “Derek Jarman’s Garden”, which was published just after Jarman’s death. Sooley’s perspectives through his lens are both uncompromising and yet humane, able to depict the potent concoction of desperate sadness and fleeting beauty in humanity. His work has been featured in The Guardian and the Observer.

Shino Yanai’s work is a catalogue of her own projects since 2011 printed in Newspaper format. This referencing of the broadsheet format and the process of archiving, remind us of the difficulties of disentangling the different perspectives and narratives presented to us in the media. 

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