This is a juxtaposition of images of the works of Japanese photographer Kagaya Masamichi and the botanist Mori Satoshi’s photographic images of the autoradiographs of diverse organisms and products, combined with Park Chan-kyong’s photo works taken in Fukushima in 2019. The autoradiographs and Park Chan-kyong’s photographs, alike, attempt to unravel the truths of the radioactive accident and the post-disaster reality. However, both constantly fail to reach their goals completely; the former because of the non-present-ness of its x-ray images, the latter because of the invisibleness of the radioactivity. Nevertheless, the audiences may be able to have a glimpse of the overall image of the disaster through their encounter with these images. This is the experience that the artist calls “the deadlock between images and textual information.” (MMCA)
0.0/10This is a juxtaposition of images of the works of Japanese photographer Kagaya Masamichi and the botanist Mori Satoshi’s photographic images of the autoradiographs of diverse organisms and products, combined with Park Chan-kyong’s photo works taken in Fukushima in 2019. The autoradiographs and Park Chan-kyong’s photographs, alike, attempt to unravel the truths of the radioactive accident and the post-disaster reality. However, both constantly fail to reach their goals completely; the former because of the non-present-ness of its x-ray images, the latter because of the invisibleness of the radioactivity. Nevertheless, the audiences may be able to have a glimpse of the overall image of the disaster through their encounter with these images. This is the experience that the artist calls “the deadlock between images and textual information.” (MMCA)
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