In conjunction with Yukiyo Kawano’s current art installation at the Café, Glyph hosts an evening of music, poetry readings and artists’ talks on the intertwined topics of Hiroshima, Fukushima and Hanford.
Poet and editor Leah Stenson reads from her newest book,Reverberations from Fukushima: 50 Japanese Poets Speak Out.
June 1 – August 1, 2014
Yukiyo Kawano’s hand-dyed silk and paper installation is a study after Bashō’s prosimetric work, Oku no Hosomichi (Narrow Road to the Deep North). Considered to be one of the major texts of classical Japanese literature, Bashō’s work is based on a journey he made in the late spring of 1689 during which he passed through modern-day Fukushima. Kawano’s delicate piece revisits and personalizes the legacy of the nuclear era and the 2011 Daiichi nuclear plant disaster in Fukushima.
The show ended May 8th 2014
During the graduation show at Vermont College of Fine Arts on August 1st, 2012, 10 min performance was held in a hanging object which is based on an image of Fukushima Daiichi Nuclear Plant after the blast, that brings fear of the man-made disasters into our visual psyche. The performance dealt with artist’s/women’s desperation about the urgency of expressing our fears about the devastation of our bodies. The historical conjuncture, with the Tohoku earthquake and tsunami in Japan and the legacy of the nuclear era, opened up a space for the performativity of one’s questioning of history, memory, witnessing, and disaster in the present moment.
sumi ink, ink pen, hemp washi paper, cotton paper (125” x 11”) An accordion-style book/journal shows the process of constructing Fat Man (folded).
Detail of the journal: a top thin layer shows some of the six months’ (translated) correspondence with hibakusha (Hiroshima victims), while showing the journal beneath appearing through its translucent body.
Detail of the journal: the journal beneath shows the thinking process of an artist.
kimono, foam, wood, hair, ink, baisen mordant dye
5′ x 5′ x 10′ (height)
The actual size of Fat Man, A-bomb, dropped on Nagasaki in 1945. The piece hangs from the ceiling using single braided wire. The height of the object is adjustable by pulling/loosening the other end of the wire that goes over the top of a pulley which is nailed on the 20’ high beam.
During the show, the object was raised (odd-number days) or lowered (even-number days) following a short ceremonial/ritual performance.
watercolor, gouache, ink pen on 100% cotton paper
18” x 24”
some of 35 sketches/mind maps used during a construction of Little Boy (folded). All the 35 sketches contain an image of a figure (self image) wearing the kimono that was used to construct Little Boy (folded).
kimono, bamboo, ash, hair, ink, baisen mordant dye
24.5″ x 24.5″ x 8′ 11″
A construction/fiber sculpture forms the shape of Little Boy, A-bomb dropped on Hiroshima on Aug. 6th, 1945. All the pieces are sewn with hair.
This close up view of Little Boy (folded) shows hair stitched into the silk fabric.