Installation and Opening

INSTALLATION 02/21 – 02/29/12

             

     

OPENING 3/01/12, 7:00 PM

ORIGINAL SCORE  by SINUU (Brent Gemmill and Dave Cintron)  to Misato Yugi’s Red Dot Radiation Art

North Gallery: o’Hara slavick, Meyers-Ohki, Schuster, Nishizawa, Sholette, Ayoung

   

      

 

 South Gallery:  Greco, Orimo, Murayama, Takeda, Suzuki, o’Hara slavick, Nishizawa, Takahashi

    

    

It was a lovely opening.  We had good turnout–about 80, all told.  At 8:00 PM, there was a showing of Misato Yugi’s animated film, Akai Tsubutsubu no E (Red Dot Radiation Art), with an original score performed live by SINUU.  We’ll post a video of that performance soon.

Sarah Schuster

…FOR NOW I KNOW IN PART….

“…for now I know in part…”  is my first effort to bring the ideas from my collaboration with artist, Nanette Yannuzzi-Macias, where we examined the construction of domestic space on a continuum between our need for safety and our equal fascination with disaster and violence, back into the singular process of painting.  This piece was loosely conceived of as a series of 365 8” x 8” panels.  The number of panels was chosen as an allusion to the days of a year and to the passage of time.  Each day I painted the ordinary forms and spaces around me, hoping to use the contemplative study of my daily life to connect to a subtle and less polemical reality, based on my belief that the daily routine can be a way to create intimacy with our environment. 

About the Artist

Born and raised in Boston, Massachusetts, Schuster attended Boston University as an undergraduate where her father taught Social Science and Philosophy. There she recieved a classical training in drawing and painting from the figure as well as a rigorous technical instruction in anatomy and traditional painting techniques. She characterizes her education as unusually conservative for the 1970′s. At that time the orientation of most art programs was one of rebellion against the history of art. Schuster began teaching at Oberlin College in 1988.

sara schuster

Misato Yugi

あかいつぶつぶの絵  RED DOT RADIATION ART

There will be a showing of Misato Yugi‘s video animation, Red Dot Radiation Art (Akai Tsubutsubu No E), at the opening of The Fire that Doesn’tGo Out on March 1, at 7:00 p.m.  at the Baron Gallery.  The film will be accompanied by an original score, composed and performed live by the Cleveland band, SINUU.

The title of this film can be translated, literally, as red dot pictures, or pictures made of red dots–tsubu tsubu being a tiny particle or grain, like the grains on a strawberry or the red rash that appears on the skin of radiation victims.  The animation was created purposely without sound; it is given new voice with every live performance by the musicians who put their own music to the images and by the audiences who come, as witnesses, to watch and listen.

Invited to create an original composition for Misato Yugi’s video gave us an opportunity to explore relationships between sound and the moving image. The sonic narrative we’ve composed is a response to Ms. Yugi’s powerful animation and the ongoing plight of the people in Japan in the wake of the 2011 earthquake, tsunami, and meltdown at the Fukushima Daiichi nuclear power plant.   – SINUU

Dave Cintron and Brent Gemmill, SINUU

David Cintron.    Born in Cleveland, and educated in design and fine art at Kent State, David is a multi-instrumentalist who has been writing, releasing music and performing solo, collaboratively, or as a band member for 24 years. His music covers a broad range, from hard rock to instrumental ambient soundscape. Along with his current band, Terminal Lovers, he has also fronted The Downside Special and Dimbulb, and was a member of Speaker/Cranker, Disengage, Cobra Verde, The Freedom Jazz Orchestra, Scarcity of Tanks and Rhys Chatham & His Guitar Trio All-Stars among many other projects. David’s latest record of instrumental meditations, “No On”, was released by Lighten Up Sounds in Oct. 2011.

Brent Gemmill originates from New Zealand and has toured internationally playing drums and electronics with noise iconoclasts, Lung.  Currently, he is a resident of Cleveland, Ohio where he plays with Terminal Lovers, winners of Scene Magazine’s Best Original Band 2011

OTHER ORIGINAL SCORES COMPOSED AND PERFORMED BY:

Harlem Renaissance High School students: Adama Traore, Felix Medina, Steven Olivence, Ronald Thermidor, Jorge Morales, Boyd Findlay and teacher, Dawn Landes  © 2011 :

NARCO:  http://www.youtube.com/watch?v=IJeqJHygY0s&feature=related

Chim↑Pom

KIAI 100 (One Hundred Cheers)

(Photo credit:  Chim↑Pom “KI-AI 100” 2011 video © 2011 Chim↑Pom)

This video by the art collective Chim↑Pom is part of  the exhibition at the Baron Gallery in Oberlin, opening on March 1.  It was originally shown in May 2011 as part of an exhibit at Mujin-to Productions called Real Times.  In an interview on Frontline, Ryutaro Ushiro described how the film came to be made:

Many of the pieces we exhibited are constructed from going there or gathering materials from there or taking pictures in Fukushima.  [Some] members [of Chim↑Pom] had spent a while up there, volunteering for a month, [and they] had taken photographs…. But just exhibiting photographs made our work not too dissimilar from the work of the media….    

There are [three] pieces that we actually filmed in Fukushima. We went to Soma, which is about 50 kilometers from the plant, and an area where not many volunteers are going.     So  there are lots of young people who have been struck by the disaster, and because volunteers won’t go near the town, these young people have not only had to live through the tsunami but are doing their own rescue and relief efforts. They have a lot to do. They have to volunteer; they’re the ones heading up the reconstruction.

So we got together with them to create the 100 Cheers. We ad-libbed and cheered based on whatever we felt at the time, starting with “Here we go!” to “We’re going to rebuild!,” to there were things about radiation, to “I want a girlfriend!” to “I want a car!” Anything was OK.   From: interview with Ryutaro Ushiro,  Frontline: the Atomic Artists, PBS:  http://www.pbs.org/wgbh/pages/frontline/the-atomic-artists/art-cannot-be-powerless/

As the extent of the crisis at Fukushima Daichi became more apparent, Chim↑Pom acted quickly with an update to the famous mural of Nagasaki and Hiroshima by Taro Okamoto. They called this project, Level Seven: the Myth of Tomorrow. 

The members of the collective:  Ellie, Ryuta Ushiro, Yasutaka Hayashi, Masataka Okada, Toshinori Mizuno, Motomu Inaoka

elin o’Hara slavick

elin o’Hara slavick, Distinguished Term Professor at University of North Carolina, will be giving an Artist Talk, After Aftermath, at Hallock Auditorium in the Environmental Studies Center at 5:00 p.m. on Thursday, March 8.  In her talk, Professor slavick will discuss her series of cameraless photographic images depicting the  ongoing and invisible history of Hiroshima’s nuclear aftermath.

The Fire that Doesn’t Go Out features ten drawings from her earlier series, Protesting Cartography:  Places the United States Has Bombed (from which the images here are taken).

World Map, Protesting Cartography:  Places the United States Has Bombed, 1854-ongoing

History is amoral: events occurred.  But memory is moral; what we consciously remember is what our conscience remembers. If one no longer has land, but has memory of land, then one can make a map.    –Anne Michaels, Fugitive Pieces, quoted in BOMB AFTER BOMB

Protesting Cartography or Places the United States has Bombed (1998 – 2005) by elin o’Hara slavick

 …These drawings are manifestations of self-education on the subjects of U.S. military interventions, geography, politics, history, cartography, and the language of war. The drawings are also a means to educate others. I make them beautiful to seduce the viewer so that she will take a closer look, read the accompanying information that explains the horror beneath the surface. I wish for the viewer to be captured by the colors and lost in the patterns—as one would be if viewing an Impressionist painting—and then have the optical pleasure interrupted by the very real dots, or bombs, that make up the drawing. Unlike an Impressionist painting, there is no sense of light in these drawings. And unlike typical landscape paintings, these drawings are based on surveillance, military, and aerial photography and maps.

 As Miles Harvey writes in The Island of Lost Maps, “In the seventeenth and eighteenth century mapmakers were referred to as ‘world describers.’ In geometry, describe means to draw or trace the outline of something; in poetry, it means to get at the essence of something, to bring it to life in a way that’s both startling and beautiful. You’ve got to do both kinds of description – and do it in a medium that’s partially visual, partially mathematical, partially textual, a complicated miscellany of scale, orientation, projection, grids, signs, symbols, lines, colors, words….”

The following is a selection of the drawings in the current Oberlin exhibit.

This slideshow requires JavaScript.

 

Dugway Proving Ground, Utah, USA 1942 – Ongoing

Dugway is a “massive firing range that for 50 years was the U.S. Army testing ground for some of the most lethal chemical, biological and nuclear weapons ever made. A slope of mountains to the east is pockmarked with hundreds of fortified bunkers storing enough toxins to eradicate mankind. Ground water is fouled with carcinogens. This was where the cold war was waged, not in battlefields in foreign lands, but in factories, laboratories and testing ranges.” – Tony Freemantle, Houston Chronicle

Mississippi, USA 1964-1970

The Salmon and Sterling Nuclear Test Sites were the locations for two nuclear detonations performed in a subterranean salt dome formation in Mississippi, as part of an Atomic Energy Commission Test. The test program, Project Dribble, called for creating an underground cavity, using a nuclear bomb to do so, then later detonating a second nuclear device, as well as two gas explosives, inside the cavity. The first detonation, to form the cavity, code-named Salmon, took place in 1964 using a 5.3 kiloton bomb. The second nuclear blast, a relatively small 0.38 kilotons yield shot code-named Sterling, was exploded within Salmon’s 110 foot diameter cavity more than two years later.

Nevada Test Site II, USA 1955 – 1968

The drawing takes as its reference a photograph from Lawrence Livermore National Laboratory of a Project Schooner (part of Project Plowshare) crater and football field (for scale), which was made by a 35 kiloton nuclear bomb.

“From 1957 to 1973, scientists and engineers working under the direction of the U.S. Atomic Energy Commission and its Livermore laboratory investigated, experimented with, and promoted the idea of “peaceful” uses of nuclear explosives through a program called Project Plowshare. Proponents confidently argue that the “geographical engineering” of harbors, canals, dams, and mountain passes could be accomplished safely, economically, and scientifically by means of nuclear-blasted excavation. But the nuclear earthmoving explosions produced large amounts of radioactive fallout, and with it, significant challenges to the program on scientific grounds.  The Project Schooner cratering explosion produced the highest levels of fallout in Utah recorded since 1962, and sent radioactive debris across the Canadian border.” – Scott Kirsch, Peaceful Nuclear Explosions and the Geography of Scientific Authority

Amchitka Island, Alaska, USA 1965 – 1971

This midway point on the great arc of Alaska’s Aleutian Islands was designated a national wildlife refuge in 1913. The Pentagon and the Atomic Energy Commission went looking for a place to blow up H-bombs. As a result, Amchitka was the site of 3 large underground nuclear tests, including the most powerful nuclear explosion ever detonated by the United States. In 1965 the Long Shot test exploded an 80-kiloton bomb. In 1969 the Milrow Nuclear test was of one megaton, 10 times more powerful than Long Shot. In 1971 the 5 megaton Cannikan Bomb was exploded, 385 times as powerful as the bomb dropped on Hiroshima.

Independent research by Greenpeace and newly released documents from the Department of Energy show that the Amchitka tests began to leak almost immediately. Highly radioactive elements and gasses, such as tritium, americium-241 and plutonium, poured out of the collapsed test shafts, leached into the groundwater and worked their way into ponds, creeks and the Bering Sea.” – Jeffrey St. Clair, In These Times

 

Hypocenter in Hiroshima, Japan 1945

The atomic bomb called Little Boy “dropped on Hiroshima on August 6, 1945 turned into powder and ash, in a few moments, the flesh and bones of 140,000 men, women, and children. Three days later, a second atomic bomb dropped on Nagasaki killed perhaps 70,000 instantly. In the next five years, another 130,000 inhabitants of those two cities died of radiation poisoning. Those figures do not include countless other people who were left alive, but maimed, poisoned, disfigured, blinded.

A Japanese schoolgirl recalled years later that it was a beautiful morning. She saw a B-29 fly by, then a flash. She put her hands up and “my hands went right through my face.” She saw a “man without feet, walking on his ankles.” – Howard Zinn, Hiroshima: Breaking the Silence

 Baghdad, Iraq 1990 – 2011

This drawing takes as its reference a newspaper map showing the targets hit during the first 24 Hours of the first “Gulf War” in 1990. “…dropping 177 million pounds of bombs on the people of Iraq in the most concentrated aerial onslaught in the history of the world.”  – William Blum, Killing Hope

“Every day for years after Gulf War I, British and U.S. warplanes bombed Iraq, and civilians and children died. Children also died every day in Iraq because of the U.S. sponsored embargo. Then George W. Bush came to the White House and invaded again, with civilians in Iraq now being killed at the rate of more than 3,000 per month.  The loss of life among Iraqi civilians is especially startling. In November, 2004, the British medical journal The Lancet reported that up to 100,000 civilians had died so far as a result of the war, many of them children.” – Howard Zinn, A Power Governments cannot Suppress

Afghanistan II, Operation Enduring Freedom  2001 – Ongoing

This drawing takes as its reference an Associated Press/Department of Defense photograph made from a gun camera video that was released during a Pentagon briefing in Washington, October 11, 2001. It shows a target as a blast erupts during a strike by U.S. forces on a surface to air missile site located within Afghanistan in retaliation for the September 11, 2001 attacks on the U.S.

“Thousands of civilians in Afghanistan have already been killed as a result of our military operations, and countless thousands more are being wounded, losing limbs, blinded. Often these are children, victims of unexploded land mines, or cluster bombs. But the American people are not told these stories; we are kept ignorant of what the “war on terror” means in human terms. Sayed Salahuddin of Reuters reported on October 28, 2001, from Kabul: “A U.S. bomb flattened a flimsy mud brick home in Kabul Sunday, blowing apart seven children as they ate breakfast with their father. Sobs racked the body of a middle-aged man as he cradled the head of his baby, its dust-covered body dressed only in a blue diaper, lying beside the bodies of three other children, their colorful clothes layered with debris from their shattered homes.” – Howard Zinn, A Power Governments Cannot Repress

 

http://slavicklyon.blogspot.com/
www.unc.edu/~eoslavic
http://www.japanfocus.org/-elin_o_Hara-slavick/3196

Follow

Get every new post delivered to your Inbox.