多重福島第一核電廠紀念碑小模型 A Maquette for a Multiple Monument for Fukushima Daiichi Nuclear Power Plant｜世界不隨人類生滅

2014 67 x 280 cm (含框 Framed) 達蓋爾攝影（銀鹽寫真） daguerreotype 作品介紹：新井使用的是最早期的攝影技法－銀版攝影法，追逐輻射污染相關的歷史性遺跡。 1954 年3 月1 日，美國於太平洋馬紹爾群島附近海域進行水底試爆（城堡行動），日本木造遠洋鮪魚漁船第五福龍丸遭受波及，新井與第五福龍丸船體及船員相遇成為了新井拍攝這系列攝影作品的契機。「從歷史遺跡中，若只是斷然地聯想到『和平』、『反戰』等抽象意味，我們會遺漏許多連結記憶與情感的細節。所以，當我們不了解核爆、不了解第五福龍丸號，我們不得不駐足其表面，細細傾聽歷史遺跡的表面所編織出的『你』與『我』的新故事。如此一來，我們每個人都能經由內心深處所湧現的情感及實際感受，找出微薄的與他人共享記憶的可能，即使心痛難耐」新井如此敘述。此次展出的作品皆選自《在百個太陽中燃燒》，此系列描繪了日本兩個不同時代的廣島原子彈爆炸圓頂屋與福島第一核能電廠。藝術家介紹： 1978 年出生於日本神奈川縣並居住於神奈川。新井卓使用了銀版攝影法－是早期攝影沖洗技術的一種。他將被輻射污染的第五福龍丸的打撈船體、與船員的相遇製作成核災歷史紀錄，此也促使他拍攝福島、廣島、長崎這三個相互關聯的主題。主要系列包含年輕人肖像及訪談企劃的《明日歷史》、福島第一核能電廠事故後記錄相雙地區（北相馬、南雙葉）的〈Here and There - 明日之島〉、圍繞著核子時代記憶與紀念物的《在百個太陽中燃燒／ EXPOSEDIN A HUNDRED SUNS》等。近年來拍攝電影、寫作、演講等活動相當多元。主要參與的展覽有橫濱三年展2020（橫濱美術館、2020 年）、「Imago」（PGI、2019 年）、「Bright wasthe Morning - 某個明亮的清晨」（橫濱市民畫廊あざみ野、2017 年）。 Work Statement: Arai uses the earliest photographic technique, “daguerreotype,” to continually follow up on historical monuments related to radioactive contamination. It all started when Arai encountered surviving crew members, and the salvaged hull, of Daigo Fukuryūmaru, a wooden tuna fishing boat that was contaminated by the fallout from the U.S. H-bomb test (Castle Bravo) test on March 1, 1954, near the Marshall Islands in the Pacific. “If we simplify monuments into abstract meanings, such as ‘peace’ or‘antiwar’, many nuances related to our memory and emotion would be overlooked,” said Arai. “Therefore, we, who do not have the experience of an atomic bombing or Daigo Fukuryumaru Incident, ought to linger on the surface of things…Listen to the new stories of yours and mine that are woven from the sur face of monuments. Through new emotions and sense of reality that arise individually within each of us, we will finally discover a narrow pathway to share memories of others.” The works featured in this exhibition are selected from the series of EXPOSED IN A HUNDRED SUNS, depicting the Atomic Bomb Dome in Hiroshima and Fukushima Daiichi Nuclear Power Plant that represent two different eras in Japan. Biography: Born 1978 in Kanagawa, Japan, where he is currently based. Takashi Arai uses daguerreotypes, one of the ﬁrst photographic processes. He had produced documents tracing nuclear history from his encounters with surviving crew members and the salvaged hull of the falloutcontaminated Daigo Fukuryūmaru fishing boat; this led him to photograph the deeply interconnected subjects of Fukushima, Hiroshima, and Nagasaki. His major projects include Tomorrow's History, based on portraits and interviews with young people; Here and There –Tomorrow's Island, which documents the Soso region after the Fukushima Daiichi nuclear power plant accident; and Exposed in a Hundred Suns, a tour of Atomic Age memories and monuments. In recent years, he has been involved in a wide range of activities, including filmmaking, writing, and lecturing. He has participated the exhibitions include “Yokohama Triennale 2020” (Yokohama Museum of Art, 2020), “Imago” (PGI, 2019), and “Bright was the Morning” Yokohama Civic Gallery Azamino, 2017). 攝影：ANPIS FOTO 王世邦。國立臺灣美術館提供。 Photographer: Anpis Wang. Courtesy of National Taiwan Museum of Fine Arts.